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Sweethearts of 

SCIEnCE FICTIOn 




"Spectacuiaji 

- Manga Max ^HH 





Hitomi Kanzaki is a typical tiigti scliool girl, with typical high school problems. 
But when a vision of a young man battling a dragon becomes a reality, 
her life changes forever. Drawn into a mysterious vortex 
with the swordsman, Van, Hitomi is thrust into 
the strange world of Gaea. Entangled in a struggle over life and death, 
Van must learn to master the suit of armor, Escaflowne. 
Chased by the Empire ofZaibach, Van and Hitomi will encounter both allies and 
enemies in an effort to unlock the secrets within Escaflowne. 
Hitomi's heart, stirred by love and adventure, at times aches with sorrow. 
But why was she sent to this world? Her journey as just begun. 

by Si 
hs, Mi 

J Music by Yoko Kanno 
(Cowboy Bebop, Macross Pi 

J "A Fantasy Epic!" - Wizard Mii 



Dragons and Destiny (V.1) 
Betrayal and Thist (V.2) 
Angels and Demons (V.3) 
Past and Present (V.4) 
Paradise and Pain (V'5) 
Fate and Fortune (V.6) 
Liglit and Shadow (V.7) 
Forever and Ever (V.8) 

^SRP: $29,98 






AvailatleNow 
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% DVD Interactive Menus 
% Dolby Digital Audio 

# Japanese/English/English Subtitled 

• Extras: Trailers/Club Escaflowne Video/ 
Staff Interviews 






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E-mail: supportSbandai-ent.com 



NUMBER 290 • SEPTEMBER 2001 • THE SCIENCE FICTION UNIVERSE 




experfenp^'I'rfB;on 
'^-j(«e^ page 324". ^ 



\ STARLOG: The Science Fiction Universe is published mcnrhiy by STARLOG GROUP, 
' INC., 475 Park Avenue South, New Yorl<, NY iC0 16 starlog and The science Fic 
tlon universe are registered trademarks of starlog CROUP, INC. (iSSN 0191 
4626) (Canadian GST number: R-1 24704826) This is issue Number 290, September 
2001. content is © copyright 2001 by STARLOG CROUP INC. All rights reserved 
Reprint or reproduction in part or in whole— including the reprinting or post 
ing of articles and graphics on any internet or computer site— without the pub- 
lishers' written permission Is strictly forbidden. STARLOG accepts no 
responsibility for unsolicited manuscripts, photos or other materials, but if sub- 
mittals are accompanied by a self-addressed, stamped envelope, they'll be con- 
sidered and. If necessary, returned. Please do not call the editorial office re: this 
material. Freelancer phone calls will not be accepted. STARLOG does not publish 
fiction. Fiction submissions are not accepted and will be discarded without 
reply. Products advertised are not necessarily endorsed by STARLOG, and views 
expressed in editorial copy are not necessarily those of STARLOG. Periodicals 
postage paid at New York. NY and additional mailing offices. Subscription rates: ^ 
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tions $59.57 in U.S. funds only. New subscriptions send directly to STARLOG, 475 
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renewals send to STARLOG Subscription Dept.. RO. Box 430, Mt. Morris. IL 61054- 
0430. POSTMASTER: Send Change of address to STARLOG Subscription Dept.. PO. 
Box 430. Mt. Morris, IL 61054-0430. Printed In U.SA. 



FANTASY BECOMES REALITY 




1 1 



General Hein 




Prototypes on Progress-Final approved product will differ siightSy fromn images sitown. 



THE SPIRITS WITHIN 



\:- ACTION Fi3^ = E 



Available in July 



Sculpted by: Howard Kalish 
Clothing by: Sheila Uoyd & Melissa Shatto 
Armor Pieces by: S.O.T.A. Sculpture & Design 
Accessories by: Industrial Zoo 
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' YesJ am ordering Gray Edwards Action Rgure( s) 

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be faxed to.212^889-7933. A 
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FF7?- .'LLLSiGirre RiSER%-ED. SQU.*t3lF FICTL-HES. INC 
Palisftoes: Lr«<-> ™ (£i2<v>i ?£ji*&sks Martt-rrtg^ lie:. .^J?iL 
*.Mi product*' picture arc prc*5ot?pe* xnd not 
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maxtMaBiae:,ptvidi^ a«y vaij sl«i»«i> ^%Hsip»ck»8e^ piece. 




With Battlestar Galactica 
finally being revived for TV, can 
a guest appearance by Anne 
Lockhart be far behind? 




0 



Looking as if she just stepped 
off the spaceship on Galaxy 
Quest, Sigourney Weaver flashes 
her best Gwen DeMarco smile. 





Dar/c>*nge/ Jessica Alba, 

keeping an eye on her 
competition, checked out 
another tough SF chick at the 
Tomb Ra/der premiere. 



The Ghosts of Mars 
haunt Species' Natasha 
Henstridge when the 
John Carpenter film 
opens August 17. 




A Storm's coming. ..in the form of 
Halle Berry, who will reprise that 
role in X-Men 2. 



It's just dawning on Michelle 
Trachtenberg that summer's almost 

over. School's back in session 
when Sty/fy begins its next season 
on a new network— UPN. 



wwWiStarlog.com 



Tomb Raider pilfered the pockets of anxious 
moviegoers expecting excitement and \ 
adventure, but don't blame 
Angelina Jolie — she didn't write the script. 




Julie McCullough 
went from vixenish 
Playmate to 
villainous Pollutia. 
Her Black Scorpion 
co-star, Adam West, 
talks about his new 
Batman DVD on 
page 79. 




Unfortunately, 
mighty Aphrodite 
Alexandra 
Tydings can't 
answer all the 
questions 
about Xena's 
controversial 
conclusion. 




Katherine Heigl has reason 
to be happy. Despite the WB's 
cancellation, Roswell was renewed 
for 22 episodes. 



Shiri Appleby is jumping ship 
along with the rest of her Roswell 
castmates.The aliens land 
on URN this fall. 




Hannibal ga\ Julianne Moore went web to speak to STARLOG 
about her summer vacation vs. alien species. Check her Evolution 
interview out at www.starlog.com 





President/Publisher 
NORMAN JACOBS 

Executive Vice President 

RITA EISENSTEIN 

Executive Art Directori 
W.R. MOHALLEY 

Editor 

DAVID MCDONNELL 

Aft Director 
HEINER FEIL 

Managing Editor 
ALLAN DART 

Contributing Editors 
ANTHONY TIMPONE 
MICHAEL CINCOLD 

TOM WEAVER 

IAN SPELLING 

JOE NAZZARO 

Consultant 

KERRY O'OUINN 

West Coast Correspondent 
BILL WARREN 

Financial Director 

DEB IRWIN 

Executive Assistants: Dee Erwine, 
Phillip Genessie, Robert D. imes. 
correspondents: (West Coast) Kyle 
Counts, Pat Jankiewicz, Kim Howard 
Johnson, Rhonda Krafchin, Marc 
Shapiro; (NYC) Dan Dickholtz, Mike 
McAvennle. Maureen McTigue. Keith 
Olexa, Dan Yakir; (Boston) Will Mur- 
ray; (Phoenix) Bill Florence; (Orlan- 
do) Bill Wilson; (Washington D.c.) 
Lynne Stephens; (Canada) Peter 
Bloch-Hansen, Mark Phill(ps; (Eng- 
land) Stan Nichoils; (Booklog) Penny 
Kenny, Jean-Marc Lofficier, Scott 
Schumack, Michael Wolff; (Car- 
toons) Alain "Big Bad Budba" Chap- 
eron, Mike Fisher, Tom Hoitkamp. 
Bob Muleady, Jason Yungbluth; 
(Photos) Donn Nottage, Lisa Orris. 
Glenn & Scott weiner. 
Thanks to: Michael Broidy. John 
Carpenter Jennifer Choi. Karen 
Clifton, ice Cube, Susan Douglas, Jill 
Fritzo, Angela Galgani, Andy Heidel, 
Sandy King, Chris Koolurls, Piet 
Kroon, Jeff Krueger, Jude Law, T6a 
Leoni, Megan Lichko, Lisa Marie. 
Ming-Na, Haley Joel Osment, William 
Self, Jerry Shantrum, Tom Sito, Lisa 
stone. Cary-Hiroyuki Tagawa, Femi 
Taylor, Natalie Trundy, Jeff Walker, 
Crystal Warren, Adam West, Nick 
Willing. 

Cover images: Planet of the Apes: 
Sam Emerson/©2001 20th Century 
FOX; Jurassic Park III: ©2001 univer- 
sal Studios & Amblin Entertainment; 
Final Fantasy: Square Pic- 
tures/©200l Columbia Pictures; 
Return of the Jedi: Trademark & 
©1983, 1999 Lucasfilm Ltd.; Batman: 
©1956 Greenway Productions & 
20th Century Fox TV/Characten 
Trademark & ©2001 DC Comics inc.; 
A.i.: ©2001 Warner Bros. & Dream- 
Works Pictures. 
For Advertising in f prmation: 

(212) 689-2830. PAX (212) 889-7933 
Advertising Director: Rita Elsen- 
stein 

Classified Ads: Phillip Genessie 
West Coast Ads: The Faust Co., 
24050 Madison Sr. #101. Torrance. CA 
90505. (310) 373-9604. FAX (310) 373- 
8760. 

International Licensing Rep: 

Robert J. Abramson & Associates, 
inc.. 720 Post Road. Scarsdaie. NY 
10583. 



QUOTE OF THE MONTH 

"Of what use is a dream if not a blueprint for 
courageous action?" 

— Bruce Wayne, Bawian movie (1966) 



STUPID TV DECISION 
OF THE iVIONTH 

Fox: For terminating The Lone Gunmen. We 
think it must have been a conspiracy. 

STUPID MOVIE DECISION 
OF THE MONTH 

Universal Pictures: For just blithely assuming 
Jurassic Park III is a hit that everybo(iy will want 
to see. 

STUPID STARLOC DECISION 
OF THE MONTH 

That would have to be the Executive Art 
Director retyping a coverline on STARLOG 
#288 after it had been proofread, finalized and 
approved by everyone else. Naturally, in the 
last-minute retyping, he made a new error, 
uncaught by anyone, and called the movie 
Tomb Radier. And it got printed that way on the 
25th Anniversar>' issue's cover! Yeah, the edi- 
tors were really happy about this. Most surpris- 
ingly, that art director is still alive. Perhaps not 
for long, though. 

WHATEVER HAPPENED TO 

Shane. Didn't we ask you to come back, 
Shane? Weren't you listening? 






Lost 




Art: Mike Fisher 



LOG ON 

The STARLOG website (www.starlog.com) 
posts one or more all-new interviews week- 
ly, usually on Tuesdays. Among these features 
(which are not published in the magazine): 
Frances (A./.) O'Connor, Farscape'a Ben 
Browder & Claudia Black, Angelina Jolie (a 
different interview than the one in issue #287). 
Atlantis art director Dave Goetz, Tim (Planet of 
the Apes) Roth. Voyager exec producer Ken- 
neth Biller, Stargate SG-I's Christopher Judge 
and Buffy creator Joss Whedon. Log on for free 
and enjoy. 



Just in time for the 35th anniversary holidays, 
it's Star Trek: Celebrations. Buy it! 

BY OUR CONTRIBUTORS 

Former STARLOG Managing Editor Maureen 
McTigue (who still contributes to the maga- 
zine) is off on a holiday next month with Star 
Trek: Celebrations (Pocket, tpb. $12.95). Her first 
book is a dazzling examination of all the hohdays, 
festivals and religious traditions found (thus far) 
in the worlds of Star Trek — from the Klingon Day 
of the Dead to the Bajoran Gratitude Festival and 
Earth's First Contact Day. It's extremely useful in 
planning hohday parties the Trek way. 

Star Trek Starship Spotter (Pocket, tpb. $16) is 
due out in November And it's also by a former 
STARLOG staffer— Adam "Mojo*' Lebowitz, 
who worked here as a publisher's assistant before 
going on to an outstanding career as a special FX 
computer graphics artist (a three-ume FX Emmy 
winner) — and Robert Bonchune. Their profusely 
illustrated guide clues readers in on all they'll 
need to know on some 30 Trek ships (tech specs, 
stats, details, etc.). 

And we should also note the latest two entries 
in Peter David's Star Trek: New Frontier novel 
series (also from Pocket, pb. $6.99): Restorati(m 
(Book 11. resurrecting Captain Calhoun) and 
Walk Like a Man (Book 12). Both hit stores in 
November. 

Planet of the Apes Revisited by Joe Russo & 
Larr\' Landsman with Edward Gross (St. Maitin's 
Griffin, tpb, $19.95) has been in the works for 
some 15 years. An excerpt (on Beneath the Plan- 
et of the Apes) appeared in STARLOG #104. This 
book is the definitive examination of the saga's 
first five films. Alas, the later chapters on the two 
TV series and Tim Burton's new movie are less 
authoritative (and there's little coverage of the 



8 SJAR\.OG/September 2001 





merchandising and comic book aspects). 
Nonelheless, it's a must-have for Apes- 
philes. 

STARLOG fihn historian Tom Weaver's 
latest collection of candid interviews has just 
been unleashed! Booth (TV's Planer of The 
Apes) Colman. John {Pit <S: the Pendulum) 
Kerr. House of\Vax<> Paul Ficerni & Phyllis 
Kirk, the late Ray Walston and others con- 
fess / Was a Monster Movie Maker (he. 
$38.50). Of course, it's from McFarland & 
Co., Box 611. Jefferson, NC 28640 (orders 
1-800-253-2187 or log on www.mcfarland- 
pub.com). Only nine of the volume's 22 
interviews first appeared in STARLOG or 
FANGORIA. Most were originally pub- 
lished elsewhere. 

Meanwhile, back on the comics scene, 
that legendary genius Will Eisner (creator of 
The Spirit) is lecturing again. And if you 
want to understand comics storytelling, 
here's great news: Eisner's two pioneering 
guidebooks are back in print this month. 
They're Comics & Sequential Art and 
Graphic Storytelling, now in new editions 
(North Light Books/Poorhouse Press, over- 
size pb. $22.99 each). 




For lessons from the master, turn to Will 
Eisner's Comics & Sequential Art. 



THE LAST 
FAREWELLS 

The science fiction 
universe must bid 
goodbye to these be- 
loved folks. 

Mentor Huebner 
(March) The production 
illustrator, designer and 
stor}'board artist whose 
amazing talents were 
part of Forbidden Plan- 
et, The Time Machine 
(1960), Planet of the 
Apes ( 1 968), King Kong 
{\916),Lordofthe 
Rings {\91S), Flash 
Gordon (1980), Blade 
Runner, The Thing 
(1982). Dutie, Total 
Recall. Bram Stoker ^s 
Dracula and many, 
many others. 

Harry Townes 
(May) The prolific 
character actor familiar 
from numerous TV 
appearances. Among 
them: Star Trek (Reger 
in "Return of the 
Archons"). The Twilight 
Zone ("The Four of Us 
Are Dying," "Shadow 
Play"), Thriller ("The 
Cheaters," "Dark Lega- 
cy"), The Outer Limits 
("O.B.I.T."), Planet of 
the Apes ("The Interro- 
gation") and Buck 
Rogers ("The Guar- 
dian"). (Interviewed in 
STARLOG #168). 

Hank Ketcham 
(May) Creator of Den- 
nis the Menace. 
(COMICS SCENE 
YEARBOOK #2). 

Maurice Noble 
(May) The legcndar>' 
animation designer, lay- 
out man and longtime 
collaborator of Chuck 
Jones. His work can be 
seen in early Disney 
features {Snow White 
and the Seven Dwatfs, 
Dumbo, Fantasia). 
many classic Warner 
Bros, cartoons C'Duck 
Dodgers in the 24 1/2 
Centur\'." "Duck 
Amuck," "What's 
Opera. Doc'?", etc.) and 
How the Grinch Stole 
Christmas. He co- 
directed (with Jones) 
the Oscar-winning "The 
Dot & the Line." 




''IWESETHIUGS 4RE EVERYWHERE - 00P5.'" 



FILM ^^ANTASY 
CALENDAR 

^Jelease dates are extremely subject to change. 
August: Ghosts of Mars, Osmosis Jones, Jeepers 
Creepers. The Others. Session 9. 
September: Soul Survivors. 
October: From Hell. 13 Ghosts. Bones, Hal- 
loween: Homecoming. K-PAX. 
Thanksgivinij: Harry Potter & the Sorcerer^ s 
Stone, The One, Monsters, Inc. 
Christmas: The Fellowship of the Ring. The Time 

I Machine, Jimmy Neutron, Boy Genius. 
Spring 2002: Arac Attack, Rollerball, Peter Pan: 
Return to Neve Hand, The Scorpion King. Pluto 
Nash, Spirit: Stallion of the Cimarron. E.T. (Spe- 

I cial Edition re-release). The Mothman Prophecies. 



On the day he met Sheena, Tarzan changed 
his familiar greeting just a bit... 




www.starlog.com 



'i^^ YXRLOG/September 2001 9 




Mail simply can't be forwarded. Other fans & 
advertisers may contact readers whose letters are 
printed here. To avoid this, mark your letter 
"Please Withhold My .A.ddress. " Oiherwise. we 
retain the option to print it. 
Write: STARLOG COMMLOG 

475 Park Avenue South 

7th Floor 

New York, NY 10016 
or e-mail: allan.dart@starloggroup.com 
We would love to hear from you. 



UNWRAPPINGS 

...Enjoyed Bill Florence's write-tip on The 
Mummy Reiiinis {^I'^l). Writer-director 
Stephen Sorniners did an excellent job with 
this sequel. Most sequels get a bad rap, 
but Sonimers proved that one can be just 
as good as the original. What I couldn't 
understand, though, is all of the hype 
about the Rock appearing as the Scorpi- 
on King. From the sound of things, it 
seemed like he would have a big role in 
the movie, but his part was very small, 
and at the end, he was animated, of all 
things! I also enjoyed the information on 
Tomb Raider and Jules Verne. A big 
salute to STARLOG and its sister maga- 
zine FANGORIA. 

MSG Paul Leaird 

First Air Cavalr>'. US Army 

503 Pine Street 

Sparta, WI 546.56 

...Enjoyed your articles on The Secret 
Adventures of Jules Verne. Fve been 
watching this series and it has plenty of 
potential. 1 hope to see more of VeiTie's cre- 
ations come to life on the show. Another hot 
SF series is Special Unit 2, which is like The 
X-Files meets Bujfy the Vampire Slayer. This 
is going to be a winner all the way! 

Nannette Wahleithner 

254 K Street 

Lincoln, CA 95648 



RAIDED OUT 

...Many thanks to STARLOG Editor David 
McDonnell for his brief movie review of 
Tomb Raider on www.starlog.com. I could 
not agree more. I saw it while on a business 
trip to another city with an evening to 
waste — in other words, it only had to meet 
the minimal standard of entertaining me for a 
couple hours. 

Well, "waste'' is the right word. I can't 
understand how ifs the number-one movie in 
.America as of this writing, unless Sony lent 
Paramount some of its imaginary movie 
reviewers. 

If that's what passes for great entertain- 
ment today, then it makes mc even more 
impressed with the "ancients'* (i.e. Jules 



Verne and H.G. Wells) and more indebted to 
you for running the interviews with those 
two pioneers in issue #288. They were enter- 
taining J infomiative. Great job. 

John Zipperer 

john@weimar.ws 

ALAS. VOYAGER 

...I am writing to express my disappointment 
over the series tlnale o\' Star Trek: Voyager. 

Over the course of seven seasons, we've 
watched the magnificent chemistry between 
Kate Mulgrew and Robert Beltran carry 
Janeway and Chakotay through friendship 
and flirting, fear and anger, hope and heart- 
break. But instead of a finale that gave us 
Janeway and Chakotay becoming involved, 
or even hints that it can happen now that they 
are home, we got the "blossoming romance" 
of Seven of Nine and Chakotay. Huh? After 
four seasons of being barely able to maintain 
a civil conversation, we get the alternate 

Art: "Big Bad Bubba" 




'KlOBOOq BOTHERED CHECt^lMG TFJE LOST ARt^'S 
OSE-BH TAG BEFORE OPEKHKiG IT CHO THE^?' 



timeline wedding nonsense in "Endgame." 
What horse pucky! If they had hinted at 
Chakotay/Seven and dropped teasers as they 
had with Janeway/Chakotay, perhaps it 
would have been a less bitter pill to swallow. 
But to pull it out of a hat in the last episode 
was ludicrous and unfair. It's a slap in the 
face to the millions of fans who've watched 
and waited and prayed that the end of Voy- 
ager would mean the real beginning of 
Janeway and Chakotay. 

And what happened to the closure we 
were promised for the Maquis? Months ago, 
we were told that the series' end would bring 
a resolution to the fate of the fonner Maquis 
when Voyager made it home. Fans w^anted to 
know what would happen to them once they 
returned to Earth and were forced to face the 
music by Starfleet Command. Would the 
Powers That Be forgive and forget because 
of their tenure on Voyager? Or would they be 
forced to make an example of the Maquis 
due to lingering tensions over the Dominion 
War? The much-heralded homecoming was 
a minor footnote; the crew showed more 
emotion when they ran out of replicator 
rations. Where was the joy and elation of 



completing their journey? Where w^erc the 
reunions with their families? 

Instead of addressing these issues, the 
producers chose to completely ignore them. 
In their place, we got more of the same old 
song — time travel, Borg battles and viola- 
tions of the temporal Prime Directive. Vm - 
agerhdiS, been there, done that way too many 
times. The finale's failure to answer the 
questions that the fans have been asking for 
seven years has sent the message that our 
voices are not heard or accounted for. By 
doing so, the producers have committed an 
unpardonable sin against a very large portion 
of their fan base and shot themselves in the 
foot regarding the next series. Now those 
same fans are not only going to pass on 
Enterprise, but are now banning Trek entire- 
ly because of their betrayal at the hands of 
Voyager producers. 

Andra Marie Mueller 

Los Angeles, CA 

GIVING CREDIT 

...Often it's mistakes that generate let- 
ters. Not this time. I would like to thank 
you for doing something right. What a 
pleasure it was to see Steve Ditko's name 
associated with his co-creation Spider- 
Man in issue #288. When even the 
comics press has an especially difficult 
time listing the Stan Lee/Ditko team, 
each of whom contributed vital elements 
to their successful co-creation, it's a rare 
satisfaction to see both sides named. 

Thanks for getting il correct. Hope- 
fully, you'll start a trend. 
Joe Frank 
Scottsdale, AZ 

CORRECTION: Speaking of mistakes 
and wrong credits, due to a transcription 
error the remarks praising Farscape'5 
leads (made at a convention) were misat- 
tributed—to Brian Henson—in the Claudia 
Black interview in issue ^283. The comments 
(which were not directly quoted in the story) 
were actually made by Farscape executive 
producer David Kemper (himself later inter- 
viewed in issue ^285). Also, Nebari was mis- 
spelled in ^283. STARLOG regrets the 
errors. 



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Day 
WKMa 




By DAVID MCDONNELL 



GENRE TV 

Bradbury is bringing The Illustrated 
ian to the small screen. He has scripted a 
two-hour TV movie adapting a pair of his short 
stories ("The Veldt" "On the Orient North**). 
Columbia TriStar TV will produce for the SCI 
FI Channel. 

SCI FI has more of its future planned. For 
2002. they're doing a four-hour mini-series ^^^^^^^^^^ 
adaptation of Kim Stanley Robinson's 
acclaimed Mars trilogy {Red Mars, Blue Mars, Green Mars). At one 
point. James Cameron intended to use Robinson's Mars material as 
the basis of a Fox Network project (Cameron is now just using his 
own material). SCI FI is plotting two mini-series based on Ursula 
K. Le Guin's works for 2003: her Earthsea trilogy (six hours) and 
The Left Hand of Darkness (four hours). SCI FI is also doing a 
futuristic take on Charles Dickens* A Tale of Tw o Cities. 

Fox has picked up the Battlestar Galactica revival project, 
ordering a two-hour movie pilot, /fit goes to series, episodes would 
also air — like the Law & Order: Special Victims Unit scenario — on 
SCI FI a week to 10 days later after their Fox premieres in a shared 
broadcast window. Br>'an {X-Men) Singer will direct the pilot. 

CHARACTER CASTINGS 

Next up for Matt Frewer as the Great Detecti\ e: Sherlock Holmes in 
the Royal Scandal. It's a TV movie adaptation of Sir Arthur 
Conan Doyle's ''Scandal in Bohemia"" and "The Adventure of the 
Bruce Partington Plans** for the Hallmark Channel next month. 

Kate Mulgrew will portray Katharine Hepburn in a one-woman 
play, Tea at Five, by Matthew Lombardo. It*s scheduled to open at the 
Hartford Stage Company in February. 

Martin Short. David Hyde Pierce and Emma Thompson all provide 
voices for Disney's fall 2002 animated movie. Treasure Planet, an SF- 
styling of Robert Louis Stevenson's Treasure Island. 

UPDATES 

The One has a new release date — No\ ember 2 instead of Septem- 
ber And after being The One, then briefly retitled just One, it is 
The One again. Sigh. 

Rollerball has been postponed from this month to early next 
year. And the oft-rescheduled Soul Survivors is now September 28. 

Save the date for The Scorpion Kini;. He's unchained April 19. 
£.71 gets his re-release (with CG-enhanced footage and 20th 
anniversar>' hoopla) March 22. And The Mothman Prophecies hits 
theaters Februar}' 22. 

Special orders won't upset the folks at Burger King. The fast- 
food chain will do a massive promo tie-in effort to December's Lord 
of the Rings premiere. Meanwhile, JVC Electronics begins its Lord 
of the Rings tie-in promotional effort next month. 

The animated Evo- 
lution spin-off series 
has a specific title — 
Alienators: The Evo- 
lution Continues. 

Let"s see. Up- 
coming this fall on 
the Discover}' Chan- 
nel are even more 
dinosaur documen- 
taries: Walking with 
Prehistoric Beasts 
(which, of course, 
is not a retitling 
of When Dinosaurs 
Roamed America, as 
once reported) and 
What Killed the 
Megaheasts"} 



COMICS SCENE 

Victoria Pratt (STARLOG #285), accus- 
tomed to being superheroic in Cleopatra 
2525, continues in that vein as the foxy Shali- 
mar in the new Marvel Comics-based syndi- 
cated series Mutant X. The rest of the team 
includes Dark AngeFs Lauren Lee Smith as a 
telempath (i.e. an empathetic telepath), Victor 
(Days of Our Lives) Webster (who sings the 
body electric) and density-changing Forbes 
(All My Children) March. They'll be led by John Shea — formerly 
Lex Luthor on Lois & Clark. 

Peyton (Bring It On) Reed is the new director — following Raja 
Gosnell (off making Scoohy-Doo) — on The Fantastic Four film. 
Sam Hamm's script (which Hamm discussed in STARLOG #285) 
will apparently get revised by yet another writer. One day, this film 
may actually get made. 

He didn't get to be Superman or Iron Man, but comics buff 
Nicolas Cage hasn't given up. He's first in line to play both Ghost 
Rider (Mar\e]"s flame-headed motorcyclist) and the world-weary 
supernatural noir protagonist John Constantine of DCs Hellhlazer. 

A new version of the animated Men in Black is being devel- 
oped to premiere in fall 2002. several months after the live-action 
sequel. Likewise. Stuart Little 2 bows next summer with a TV car- 
toon version to follow. 

Stan Lee has a cameo in Sam Raimi's Spider-Man. Of course. 

REMAKES & SEQUELS 

Disney is planning to Escape to Witch Mountain again. Adam 
Kulakow is scripting this remake. 

Plans for a movie version of The Outer Limits are moving ahead. 
Mark Victor & Michael Grais — the team who co-scripted Poltergeist 
with Steven Spielberg — will mount a movie for MGM, co-producing 
with Trilogy Entertainment (the folks behinU the revived TV series). 

The Teenage Mutant Ninja Turtles may be returning to the screen 
in a CG-animated film. Digital Rim Entertainment (a combination of 
companies involving John Woo) has picked up the rights. They're 
planning Turtles who will be darker and closer to the original Kevin 
Eastman-Peter Laird comics characters. 

An American Psycho II has wrapped. It's of interest for its co- 
stars: Forever Knight's Geraint Wyn Davies and William Shatner. 




SCI-FI PEOPLE 

ere's an all-star team. Lawrence (Silverado) Kasdan will direct 
the film version of Stephen King's The Dreamcatcher for Cas- 
tle Rock. Quintessential screenwriter William (The Princess 
Bride) Goldman is doing the adaptation — as he did with Misery. 
Michael Dom is directing an episode of V.I.P 
Haley Joel Osment will cameo in Steven Spielberg's Minority 
Report. 

Peter (Witness) Weir will script and 
direct Master and Commander, the 
first of Patrick O" Brian's acclaimed 
Aubrey-Maturin naval adventures, for 
20th Centurv^ Fox. No. it's not SF, but 
the books are great. 

The Clan of the Cave Bears Jean 
M. Auel has — at last — turned in the 
next volume of her prehistoric saga. 
The Shelters of Stone will be published 
in May 2002. Auel discussed her work 
in STARLOG #107. 

Vocal legend June Foray is writing 
her autobiography. 

And Michael J. Fox has finished 
chronicling his life in a memoir. Lucky 
Man. It'll be published by Hyperion 
Books in Januar}^ 



www.starlog.com 



Rolierball has been postponed— possibly on account of rain. The 
games begin next year instead. 



STARLOG/September 2001 11 




ANDROMEDA 

Renewed for a second syndicated season. SF 
veterans Michael Hurst, William B. Davis. 
Bruce Hanvood, Roger Cross and. possibly. 
Jason Alexander will guest in new episodes. 
James Marsters replaces Bruce Campbell 
(whose guest stint was deep-sixed due to 
scheduling problems). 



ANGEL 

Second season reruns air this summer in its 
new fall time slot (Mondays, 9 p.m.) on the 
WB. Amy Acker, introduced as Fred in the 
final second season episodes, becomes a full- 
time series regular this fall. Elisabeth Rohm 
(Kate) is joining the Law & Order xQ%\i\2ii cast, 
which may limit or end her Angel recurring 
role. Julie Benz w ill return as Darla. Inkworks 
is unleashing Season 2 trading cards. 

BEASTMASTER 

Reruns airing in syndication the week of 
7/23: "Heart Like a Lion." 7/30; "Xinca." 

BUFFY THE VAMPIRE 
SLAYER 

Fifth season reruns air this summer 
(Wednesdays, 9 p.m.) on the WB. Moves 
to UPN this fall in its old WB slot (Tuesdays. 
8 p.m.). The all-singing, all-dancing musical 
episode is scheduled for November. Dark 
Horse Comics is publishing a three-issue Oz 
mini-series which spotlights the teen were- 
wolf's attempts to find a cure for lycanthropy. 
It's written by Christopher Golden and drawn 
by Logan Lubera. Long Way Home, the last 
volume in the Buffy/Angel Unseen novel tril- 
ogy, will be published next month (Pocket, pb, 
$6^99). It's by Nancy Holder & Jeff Mariotte. 

CHARMED 

Airs Thursdays, the WB. Rose McGowan 
joins the series this fall, replacing depart- 
ed witch Shannen Doherty. She'll play long- 
lost half-sister Paige. TNT has picked up rerun 
rights to Channed and will begin airing early 
se^ason shows in fall 2002. TNT has also 
acquired "dual window" rights and will thus 
broadcast upcoming new episodes about 10 
days after they premiere on the WB. 

THE CHRONICLE 

Airs on SCI FI Saturdays. All-new episodes 
air throughout August. Casey Biggs guest 
stars in "Bring Me the Head of Tucker Burns." 

EARTH: FINAL CONFLICT 

Renewed for a fifth (and last) syndicated 
season. Leni Parker & Anita LaSelva are 
leaving the cast. Original star Kevin Kilner 
returns (for a time). Several writers are also 
exiting. The next EFC novel. Heritage, of 
course, uses characters no longer in the series. 
It's by Doranna Durgin (Tor, October, he. 



S24.95; tpb. $14.95). Margot Kidder will 
guest star this year. The show's rerun life 
begins 8/6 on SCI Fl (Mondays-Thursdays. 10 
p.m.). 

For summer rebroadcast in syndication, an 
online survey polling fans was conducted to 
determine the Top 10 episodes. The episodes 
are airing in chronological order {nor in Top 
10 listing order). They are listed in Top 10 
order below and include summer airdates 
(only for those shows yet to be 
rerun at prcsstime). 

1 ) "First of Its Kind" (airing in 
syndication the week of 7/23) 

2) "The Joining" 

3) "Decision" (the series' premiere 
episode) 

4) "The Forge of Creation" (8/21) 

5) "Dark Matter" (8/28) 

6) "Atonement" (9/4) 

7) "Arrival" (8/14) 

8) "Atavus" (7/30) 

9) "Sandoval's Run" 

10) "Thicker Than Blood" (8/7) 

ENTERPRISE 

Premieres on UPN this fall. Airs 
Wednesdays, 8 p.m. Roxann 
Dawson will direct an episode. 



THE INFINITE WORLDS OF 
H.C. WELLS 

Mini-series premieres 8/5 on the Hallmark 
Channel (formerly Odyssey Network). 
See page 70. 

THE INVISIBLE MAN 

Airing in syndication and on SCI FI (Fri- 
days, 8 p.m.). 8/3: "Immaterial Girl." 
Darien Fawkes is seeing disturbing things, but 
only when he's invisible. 8/10: "Germ Theo- 
r>'."' A bacteria that turns folks invisible causes 
havoc for the .A^gency. 8/17: "The Choice." 
Alex Monroe's stolen baby has an unsettling 
parental heritage. 8/24: Darien visits his 
Grandma {Titanic's, Gloria Stuart, co-star of 
the orisinal 1933 film The Invisible Man), who 



FARSCAPE 

Airing on SCI FI, Fridays. 9 
p.m. 8/3: "Infinite Possibili- 
ties II." John Crichton & Aeryn 
Sun must build a deadly weapon to 
resolve their latest predicament. 
8/10: "Revenging Angel." Crich- 
ton's in a coma. It's up to D'Argo 
to save the day. 8/17: Aer^-n tries to 
contact her father. 8/24: "Frac- 
tures." The crew meets another group of 
escaped Peacekeeper prisoners. 8/31: Five- 
show marathon (8 p.m. -midnight). Includes 
"A Human Reaction." "Won't Get Fooled 
Again." "Grcen-Eyed Monster" (written by 
series star Ben Browder). "Durka Returns." 
"Through the Looking Glass." Farscape: The 
Illiisirared Companion, the inevitable non-fic- 
tion reference book, by Paul Simpson & David 
Hughes, will be published in November (Tor. 
tpbTs 12.95). 

FIRST WAVE 

Airs Saturdays. 8 p.m., SCI FI. 8/4: 
"Requiem." Cade Foster must convince 
the Raven Nation that Jordan Radcliffe has 
been possessed by Mabus. 8/1 1 : "Checkmate." 
Can Foster repossess Jordan? Where's that 
pawn ticket? 8/18: "Black Box." Both Foster 
and Joshua seek an ultra-powerful alien war- 
head. 8/25: "Beneath the Black Sky." The 
mysterious stranger Xevallah — who saved 
Foster as a child — re-enters Foster's life to 
prepare him for the final battle with the Gua. 




Gloria Stuart— who was first involved with 
The Invisible Man almost 70 years ago— 
gets grandmaternal with Vincent Ventresca. 

provides some unsettling revelations about his 
father. Stuart discussed her career in 
BLOODY BEST OF FANGORIA #13. In a 
later episode. Armin Shimerman will reprise 
his recent "Insensate" role as Tommy Walker. 

LEXX 

Third season now on SCI FI, airing Fridays, 
10 p.m. Upcoming guest stars: Britt 
Ekland and Red Dw aifs Craig Charles & Hat- 
de Hayridge. 8/3: "Stan Down." America's 
President teams with Stan to oppose Prince. 
8/10: "Xevivor." It's a contest to win a hot 
night with a willing Xev. 8/17: "The Rock." 
Will Stan rule as the King of Newfoundland? 
8/24: "Walpurgis Night." The crew tours Tran- 
sylvania in search of the hysterical Dracula. 
9/7: "Vlad." Guess who visits the Lcxx. 9/14: 
"Fluffdaddy." Stan really gets into adult enter- 
tainment. 9/21: "Magic Baby." A rock 
star/reincarnated druid visits the crew. 



Note: Airdates can shift without notice. Series are only listed for which STARLOG has new info. 



Your first contact 
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for our 1 80 page 
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ZacheryTy Bryan and pals venture to The Outer Limits in "Abduction." 



NIGHT VISIONS 

Iew summertime anthology se 
airs on Fox, Thursdays, 9 p.m. 



THE OUTER LIMITS 

Airs on SCI FL Saturdays, 10 p.m. 
8/4: ''Mind Reacher." Can a doctor 
(Jamie Luner) cure a troubled girl by 
visiting her mind? Did it work in The 
Cell! Guest starring The Adventures of 
Brisco Coimn's John Pyper- Ferguson. 
8/11: 'Time to Time." A dedicated 
daughter trips back in time to change 
her Dad's life. 8/18: ''Abduction.'' Five 
high school students face an alien offer 
that they can't necessarily refuse. 

RELIC HUNTER 

Reruns airing in syndication the 
week of 7/23: "Fertile Ground." 
7/30: "The Executioner's Mask." 8/6: 
"Last of the Mochicans." 8/13: "The 
Royal Ring." 8/20: "Three Rivers to 
Cross." 8/27: "Set in Stone." 9/3: 
"Dagger of Death." 9/10: "Deadline." 

ROSWELL 

Returns this fall, now on UPN for a 
full 22-episode third season, to air 
Tuesdays, 9 p.m. The next in the S6.99 
Pocket Books paperback novel saga 
inspired by the TV series is due out 
next month. No Good Deed is by Dean 
Wesley Smith &. Kristine Kathryn 
Rusch. RosweU's, Katherine Heigl — as 
well as AngeVs, J. August Richards and 
Kerr {Final Destination) Smith — star 
in Ground Zero. It's an NBC TV movie 
based on the James Miles novel The 
Seventh Power and set to air next sea- 



son. RoswelTs Shiri Appleby, mean- 
while, is co-starring in the teen thriller 
Swimfan85. 

SPECIAL UNIT 2 

Airs Wednesdays, UPN this fall. To 
cut costs, the series will shoot this 
season in Vancouver instead of LA. 

STARGATE SG-1 

Airs on Showtime (Fridays, 10 p.m.) 
and in syndication. The series' 
100th episode, the comedic "Worm- 
hole Extreme," is scheduled to bow 
next month. A two-parter ("Sum- 
mit"/"Last Stand"), scheduled for Jan- 
uary, will wrap up several ongoing plot 
threads. 

STAR TREK: VOYAGER 

TWO reruns air Wednesdays. UPN (8 
p.m., 9 p.m.) throughout August 
and September. Show's over. 

THE X-FILES 

Airs Sundays, Fox. Renewed. Anna- 
beth Gish joins the series as a full- 
lime regular. David Duchovny won 7 be 
back. Inkworks is unleashing a 90-card 
premium trading card set devoted to 
seasons four and five. A set devoted to 
the next two seasons follows this fall. 

XENA 

Reruns airing in syndication the 
week of 7/23: "To Helicon and 
Back." 7/30: "Send in the Clones." All 
of the new episodes have now pre- 
miered. Show's over, folks. Move 
along. 



FROM LAPLAND WITH 
LOVE 

The U.S. and the Soviet UnioFi inadver- 
tently set off simuhaneous nuclear 
blasts, knocking the world off its axis in The 
Day the Earth Caught Fire (Anchor Bay. ^ 
$24.98). Special features on the DVD 
include interviewer Ted Newsom's audio 
commentary chat with Val Guest, director of 
the 1961 nail-biter. For more nuclear anarchy 
and/or discursive directors, plunk down the same 
amount for the same company's The Final Pro- 
gramme (in a shorter version a.k.a The Last Days of Man 
on Earth, 1973). Moviemaker Robert Fuest and actress Jenny 
Runacre arc behind the audio commentators* microphones to talk 
about this adaptation of a Michael Moorcock story. .Ion Finch stars 
as Jerry Cornehus (opposite Sterhng Hayden and Sarah Douglas) 
in the cultish SF comedy, set in London. Turkey and Lapland. 

Can't get enough of movies made in Lapland? Then here's 
something from the "\i this can come out on DVD. anything can!" 
file: Image is unveiUng a $24.99 double-bill of the made-in-Lap- 
land Terror in the Midnight Sim (1958) and its much-altered U.S. 
version, re-titled Invasion of the Animal People for 1962 Stateside 
release. The film's producer provides audio commentary on Ter- 
ror, perhaps explaining why the movie's monster looks like a 
giant, rumpled, just-woke-up Chewbacca. Proof that the DVD 
community has gone extras-crazy, the bonus material here 
includes several Swedish sexploitation trailers and. for those who 
still haven't lapped up their fill of Lapland, the short subject "Lap- 
land Reindeer Ritual.'' 




DVDS IN BRIEF 

^tar Trek #29 ("Elaan of Troyius " "The 
^^aradise Syndrome") and #30 ("The 
Enterprise Incident," "And the Children 
Shall Lead'*)— $19.99 each from Para- 
mount. 

Space: J 999 #3 ("Collision Course," 
"Death's Other Dominion," 'The Full Cir- 
cle." "End of Eternity." "War Games,'* "The 
Last Enemy'*) and #4 ("The Troubled Spirit," 
"Space Brain," "The Infernal Machine." "Mission 
of the Darians," "Dragon's Domain," "Testament of 
Arkadi*')— $39.95 each from A&E. 
Abbott and Costello Meet the Mummy. Bud and Lou's final 
Universal team-up (1955), with veteran monster movie stuntman 
Eddie Parker co-starring as the bandaged "Klaris." Also included: 
a Woody Woodpecker cartoon. It's $24.98 from Universal. 



CLASSIC TOONS 

Homer Simpson's trademark exclamation ("D'oh!") has hit the 
big time: The word out of Merric Okie England is that it is 
destined for inclusion in the next edition of the very erudite 
Oxford English Dictionary. ("Expressing frustration at the realiza- 
tion that things have turned out badly or not as planned or that one 
has just said or done something foolish. 
Also implying that another person has 
said or done something foolish.*') Simp- 
sons fans who have painstakingly taped 
all of the cartoon family's misadventures 
may be forgi\ en a "D'oh I" or two as they 
IccUTi that the series is coming to DVD: 
On September 25. 2()th Century Fox 
Home Entertainment releases an elabo- 
rate boxed set of the first season of TV's 
longest-running current comedy series. 
The second season may arrive by year - 
end. with additional sets released ever\ 
year thereafter. The series' first season 
was just 13 episodes, so this initial three- 
disc set (S39.98) will include bonus 
material like the original shorts that 
debuted on The Tracy Ullman Show, the BBC special America's 
First Family, early sketches, audio commentary and much more. 

In other news from Toontown, Buena Vista is preparing DVD 
Special Editions for two of Disney's best and most beloved ani- 
mated classics. Snow White and the Seven Dwaifs (1937) and 
Dumbo (1941). Accompanying Snow White (the first feature- 
length animated film) will be audio commentaiT. Making-of and 
"Magic Mirror." a bonus element that provides featurettes and 
other behind-the-scenes extras. Snow White may indeed be the 
fairest of all them delightful Disneys. but giving it a run for its 
money in the DVD extras department is Dumbo, the pint-sized 
pachyderm with the plus-sized ears. It contains a behind-the- 
scenes featurette. production stills, interactive game and more. 
Both are S29.99. 




The Simpsons are moving into their 
new DVD home— one season at a time 



BADDER GUYS 

Can crimefighters and archvillains co-exist on DVD and VHS 
"New Releases" shelves? This summer ought to tell the tale. 
Working "on the side of the angels" is Simon Tempkir, as played 
by Roger Moore in the 196()s TV series The Saint. The first six 
episodes of this English-made adventure series are being combined 
in A&E's The Saint Set #1. available on DVD for S39.95. 

Also lashing out against evildoers is the vengeance-seeking 
Darkman. enacted by Liam Neeson in the 1990 Sam Raimi-direct- 
ed original and by Arnold (The Mummy) Vosloo in the 1994 direct- 
to-video follow-up Darkman II: The Return of Durant. These are 
paired in a two-DVD set complete with trailers. It's $34.98 from 
Universal. 

Their opponents, now entering the home video ring, include Dr. 
Mabuse — "criminal genius, psychologist, hypnotist, counterfeiter, 
card shark, master of disguise, thief of state secrets and ruler of a 
sinister empire founded on selfishness, chicanery and murder." Is 
he all these things — or simply a raving lunatic? The answer is 
found in Image's" DVD of Dr Mabuse^ the Gambler ($39.99), a 
1922 German silent and a highwater mark in the 
early career of director Fritz Lang. It comes to 
DVD in a Special Edition which actually com- 
bines two silents (Dr Mabuse, the Gambler and 
Dr Mabuse, King of Crime) and adds an audio 
commentar) by Lang scholar David Kalat, author 
of the indispensable new McFarland tome The 
Strange Case of Dr Mabuse. 

More fearsome even than Mabuse, the 
inscmtable Dr. Fu Manchu rises once again with 
his own dastardly plans for world domination. 
He's played to the peak of perfidious pert'ection by 
\eteran Hollywood heavy Henry Brandon in 
Drums of Fu Manchu (1940), one of Republic's 
most elaborate cliffhangers. Do Sir Dennis Nay- 
land Smith (William Royle) and Dr. Petrie (Olaf 
Hytten) stand a Chinaman's chance against Fu and 
his army of zombie-like Dacoits? Will VCI come through with a 
decent print of this ultra-rare, worse-for-wear serial? Tune in to 
Videolog next month for the startling answers! It's $29.99 on VHS. 

The MVPs on the Heroes Team are, however. Batman and 
Robin (Adam West and Burt Ward), stars of Batman (1966), the 
kitschy big-screen incarnation of their ultra-popular ABC-TV 
series. The" $22.98 20th Century Fox Home Entertainment DVD 
features menu screens that are a show in themselves, a featurette 
with talking heads West and Ward (who speak as much about the 
TV show as the movie) and a historv of the Batmobile, hosted by 
fast-talking Hollywood auto designer George Bcuris, who reveals 
that five were built for the series. An audio commentary is also pro- 
vided by Ward and West (see page 79). The VHS version is also 
being reissued at an ultra-cheap $9.98. 



14 STAKLOG/SeptemberlOOl 



www.starlog.com 





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Julie LCzemeda 

WTMI 




- • ^ 



-4mon-4>rlns than humin. Earth's Op>y 
hope m rti» SBfd of destiuoioD? 



In the Company of Others by Julie E. 
Czerneda (DAW, pb, 576 pp, $6.99) 

Humans arc spreading throughout 
space, colonizing other worlds. To aid in 
their work. the\ "\e made use ot the Quill, 
an e.xtratcrresirial fungus which serves as a 
relaxant. Although the Quill were meant to 
be destroyed 
once a ten'aform- 
ing project was 
completed, some 
of them have 
managed to gain 
footholds on the 
colony worlds. 
Now the Quill 
are multiplying, 
forcing humans 
to abandon these 
colonies. Dr. Gail 
Smith may have 
found an answer 
to stopping the 
fungi, in the form 
of a human who 
' has managed to survive contact with the 
Quill. But a solution might not be so easy 
to acquire. 

Czcrneda's style is slightly different 
from her previous work, but no less read- 
able. She still knows how to produce a 
decent modern space adventure, proving 
herself a stylistic disciple of C.J. CheiTyh. 
Those who enjoy old-fashioned story- 
telling in the hands of new practitioners 
will have no problems here. 

—Michael Wolff 

Behind Time by Lynn Abbey (Ace, pb, 304 
pp, $6.50) 

Time-Walking librarian Emma Merrigan 
is back and hell-benl on retrieving her long- 
lost mother's soul from its Curse-created 
prison in 17th-century France. Unfortunately. 
Emma is a woefully inexperienced Time 
Walker. Complicating matters is her attrac- 
tion to a ghost who might be her worst 
enemy. 

Despite a slow opening — the character- 
developing guilt scenes are boring after the 
third repetition — and a slightly confusing 
ending. Behind Time is an enjoyable read. 
Once Emma gets moving, she's an engaging 
character with attitude and smarts. Plus, the 
whole Time Walking/Curse Hunting concept 
is fascinating, partly because Abbey makes it 
seem plausible. It will be interesting to see 
where Emma goes from here. 

— Penny Kenny 

Time Future by Maxine McArthur 
(Warner Aspect, pb, 464 pp, $6.99) 

The space station Jocasta is blockaded 
by an alien race with no hope of relief or 
rescue. Halley. Jocasta s commander, 
obviously has enough on her hands to 
worry about, but her problems are only 
beginning. A ship fmally manages to break 




through the 
blockade, only 
to be identified 
as being from 
Earth's past. 
On top of that, 
the station's 
already strain- 
ed atmosphere 
is further labor- 
ed by a trader's 
murder — with 
all evidence 
pointing to an 

extinct monster. Jocasta is quickly becoming 
a powderkeg, and Halle\ is the only person 
holding the situation together. 

This plot has elements which used to 
show up regularly on Star Trek: Deep Space 
Nine. Babylon Five and Doctor Who. The 
fundamental difference here is that the stoiy 
is written by someone with a definite eye 
toward excitement on an intelligent level. 
Time Future is almost a police procedural, 
with the reader following Halley's intriguing 
investigation. This is Mc Arthur's first novel: 
let's hope that subsequent efforts match, or 
exceed, the work exhibited here. 

^Michael Wolff 

The Secret of Life by Paul McAuley (Tor, he, 
416 pp. $25.95) 

An unknown 
organism is rapid- 
ly growing across 
the Pacific Ocean, 
threatening all life 
on Earth. Dr. 
Mariella Anders is 
part of a NASA 
team being sent to 
Mars to investigate 
the organism's ori- 
gins and perhaps 
fmd a way to con- 
trol it. But maneu- 
vering around the 
political and cor- 
porate back-room 
plotting is a chal- 
lenge. Mariella has 

to draw upon more than her scientific skill in 
order to bring her discoveries to light. 

Sort of a Lights Out episode written by Fred- 
erik Pohl. The Secret of Life blends a modern- 
day SF monster-movie plot with a 
socio-political thriller for a rather pleasing read. 
It isn't as far-reaching or epic as McAuley 's 
earlier w ork. but this is much more intimate and 
accessible to the casual reader. This could well 
be the McAule\ novel that breaks through to a 
w ider audience. 

—Michael Wolff 

The Treachery of Kings by Neal Barrett Jr. 
(Bantam Spectra, pb. 336 pp, $6.50) 

There are a few tiaws with The Treacheiy 
of Kin ^^s. The title — the kings portrayed arc 




Art: Jim Burns 

not treacherous. They're stupid. Capri- 
ciousness and random acts of cruelty do 
not a treacherous character make. 

The plot — at his own king's behest, 
mechanical lizard-making Finn deli\ers a 
clock to the king of a country that his own 
is at war with, and blunders into a palace 
plot with metaphysical overtones. If there's 
a philosophical statement here, it falls flat. 

The characters — would they just shut 
up already? Their charter is not nearly as 
amusing as author Barrert thinks it is. 

To sum up — a\oid The Treachery of 
Kings. You'll be glad you did. 

— Penny Kenny 

The Ring of Five Dragons: Volume One of 
The Pearl Saga by Eric \'an Lustbader 
( Tor, he, 608 pp, $27.95) 

After a centuiy of V'ornn occupation, the 
Kundalans are eager for the Dar Sala-al to 
appear. Prophecy says the Dar Sala-at will 
reunite the shattered branches of Kundalan 
sorcer\' and drive the V'onin away. 

Here. Van Lustbader. best known as the 
author of The Ninja. seems to be creating a 
new generation's Dune. The ruling V'ornn 
revel in political intrigues and coups, while 
the Kundalan's religious leaders make 
Machiavelli look positively naive. There's 
even a plotline involving a drug everyone 
wants to control. 

When it's not being Dz/;?^'-lite, 
there's much to like about The Ring 
of Five Dragons, including an 
exceptionally strong female cast 
and hero Annon Ashera. a V'ornn 
who plays an important role in Kun- 
dalan prophecy. 

Those who love Dune will hate 
Dragons because it isn't Dune. 
w hile those w ho like, or who have 
never read, that classic epic, will 
enjoy Dragons for itself 

— Penny Kenny 

The Queen's Necklace by Teresa 
Edgerton (Eos. tpb, 592 pp, $15) 

The Queen 's Necklace reads 
like a delightful cross between 
Gene Kelly's Three Musketeers 
and The Secret Adventures of Jules Verne. 

Dashing Wilrowan Blackheart. Captain 
of the Queen's Guard, and his faithful wife, 
the sorceress Lilliana. must retrieve stolen 
magical gems before Goblins can use them 
to take over the world. Unfortunately, the 
couple's personal life is a mess and they're 
working at cross purposes on this mission. 

Wil and Lilli's struggle to serve both 
their duty and their desire is the heart of 
this book. Their frustration with them- 
selves, their job and one another is very 
real. Edgerton has concocted a frothy brew 
of intrigue and romance here that will 
delight her readers and have them counting 
the days until the sequel amves. 

— Pennx Kenny 



16 STARLOG/Septemher 200 J 



wM^v.starlog.com 






TELL ME, Mf^. MAUL. DO Vou 5E.E. "mE 
GLASS AS HALF-E>1PTV OR HALF - FULL?" 



MO WOMDER NOME OF ^OU CAM HrT THE 
BROAP51DEOFA REBEL EvASE- 

WREALL HALF-BLIND!" 




THE fVK)SH PfTOM THE EXECGTOK^ mVQE 

vvwvv.starlog.com 



SlARLOG/SepTember 2001 17 



■A 



This lists websites for SF, fan- 
tasy & animation creators 
and their creations. Website 
operators may add their sites to 
this list by sending relevant 
information via e-mail only to 
allan.(iart@ starloggroup.com I 

THE OFFICIAL OSMOSIS 
JONES WEBSITE 

This Farrelly brothers anima- 
ted/live-action feature puts white 
blood cell cop Chris Rock and 
cold tablet David Hyde Pierce in 
Bill Murray's body to stop a 
virus. Enter the "City of Frank" 
at 

\vw>^^osmosis.jonfS.wamerbros. 

com 

ADAM WEST PAGE 

Holy Jeepers. Batman! It's the 
official Adam West website! 
Visit Wayne Manor and use the 
Bat Computer to discover the 
original Caped Crusader's dark- 
est secrets. 

WW w .ada in west.com 

RICHARD DEAN ANDER- 
SON PAGE 

Travel through the Stargate and 
arrive in a website wofld dedicat- 
ed to all things Anderson. From 
his failed Facts of Life spin-off 
series to his memorable days as 
MacGyver, everything about this 
TV Legend can be found here. 
The trip begins at 
» w w.rdanderson.cum 




I(0Oq encoonters SMAt^E PLISS^EM 




HHTOlE^f Com^ ifi 57 OF iom' FU^ 



THE MARION ZIMMER 
BRADLEY SITE 

This Lady of the Lake put a 
female perspective on the King 
Arthur tales, parting the Mists of 
Avalon — which is now a TNT 
mini-series, txplore the leg- 
endary author's lore at 
mzb works. home. att.iu't 

GHOSTS OF MARS SITE 

The angr\- red planet gets a little 
meaner when Ice Cube & Co. 
bring out the ahen dead in this SF 
. scarefest. 

\> w w.spcsony.com/movies/ 
jump/f_ghostsofiiiars.html 

DANIEL KEYES PAGE 

Learn about the latest doings of 
the author who put a twist on the 
phrase **of mice and men.'' The 
Flowers for Algernon scribe's 
site can be found at 
u A\ u.danie]kt'> e^nuthoncom 

LIV TYLER SITE 

That thing she does! After 
Inventing the Abbotts, this 
Armageddon gal spent One iWight 
at McCooVs, only to leave on a 
Tolkien trek for Lord of the 
Rings. Check out Steven Tyler's 
spawn at 

www.liv-tylerorg 

DINOTOPL\ SITE 

Airing in May 2002. this six- 
hour mini-series adapts the pop- 
ular book saga about two boys 
who discover clothes-wearing 
dinosaurs on a fantasy continent, 
www. d ' ■ ^ t : > 0 i a . c< > nr/mo ^ i e . 
html 



AUGUST 

VULKON 

August 3-5 
Burbank, CA 
POSTPONED TO 2002 

FANCORIA'S WEEKEND OF 
HORRORS 

August 11-12 
Pasadena Ci\ic Center 
Pasadena. CA 

Creation 

Tlic Gal leria Tower 

100 West Broadway #1200 

Glendalc. CA 91210 

(818)409-0960 

wu'w.creaiioncnt.coin 

Guesb; JuiiiCs Mar<.ten;. Stan Winston, Stuart 
Gordon. Brian ^'uzna. Kane Hoddcr. .Muse Wat- 
son. Zen Gesner. John Buechlcr. Brinko Stevens. 
Elvira. Tom Atkins. Lisa Wilcox. Tony Timpone 

BUBONICON 

August 24-26 

Howard Johnson East 

Albuquerque, \M 

NMSF Conference 

RO. Box 37257 

.Albuquerque, NM 87176 

(505)266-8905 

w«-w.bubofucon.honie.an.net 

Gdcsis: Sarah ZetteI, S.M. Stirling. Roben 

\sdeman 



CONVENTIONS 

Questions about cons? Please send a sc-lf-addrcsscd. stamped en%clopc to the address listed for the con. Do SOI call STARLOG. Note: Listed guests 
mav not aiwavs appear and cons mav be cancelled without unv notice. Conventioneers: Send all pertinent info no later \i^mtour months pnor to the event 
to STARLOG Con Calendar. 475 Avenue South. 7ih Fir. NY. NY 10016 or e-mail to allan.dan(2 siarloggroup.com ^ou mu>i provide a phone num- 
ber and (if possible) an e-mail address. STARLOG makes no guarantees, due to space limitations, that your con will he listed. 1 his is a free serMcc; to 
ensure a listine— not here, but elsewhere-contact Phillip Gcnessie (212-689-2830 x200) for classified ad rates & advertise there. 



CREATION 



August 25-26 
Convention Center 
Minneapolis. MN 

Creation 

See earlier address 

Guests: John de Lancie, Marina Sirtis. Michael 
HursL Virginia Hey. Roxann Dawson. Keilli 
Hamilton Cobb 

XENA CON 

.August 25-26 
Cherry Hill Hilton 
Chcm HUl. .NJ 
Creation 

See earlier address 

Guests: Victoria Pratt. Alexandra Tydings. Claire 
Stansfield 

STARCON 

August 31-Septemhcr 2 

Holiday Inn-DL\ Convention Center 

Denver. CO 

Starland 

\\ w w.starland.com 

Guests: Tun Russ. David Boreanaz 



SEPTEMBER 

FARSCAPE 

September 1-2 

Hilton Burbank Airport & Convention 

Center 

Burbank, C.A 

Creation 

See earlier address 

TREK & FARSCAPE 

September 8-9 
Hotel Pennsylvania 
NTCNY 

Creation 

See earlier address 

Guests: William Shatner (Samrday only). 
Farscape stars (Sunday) 

TREK 35TH 

September 9 
Piano Centre 
Piano, TX 

Creation 

Sec earlier address 

GuesLs: William Shatner. Barbara Luna. 
Virginia Hey 



VULKON 

September 14-16 

Sheraton Fort Lauderdale .Airport 
Fort Lauderdale. FL 

Vulkon 

P.O. Box 297122 

Pembroke Pines. PL 33029-7122 

(y54)44i.!.;7.vS 

www.Nulkon.com 

Guest: Bruce Campbell 

ENCOUNTER ON THE 
NORTH COAST 

September 21-23 

Sheraton Cleveland Hopkins Airport Hotel 
Cleveland. OH 

Encounter on the North Coast 

PO. Box 35706 

Canton. OH 44735 

www.regiononc.net/2001 

e-mail : conference (S a-gionone.net 

Guests: Robin Curtis. Peter 

Woodward 



18 STARLOG/Septemher 2001 



www..starlog.com 



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shop online and receive 
a special discount 

• subscriptions 

• bacl( issues 

• collectibles 

• &nnore 



Missing from Too many discussions of 
Tim Burton 's new Planet of the Apes 
is any mention of Arthur R Jacobs, 
the highly successful public relations man 
turned movie producer who shepherded the 
original five-film Apes series (1968-73) into 
production and spawned the entire Apes phe- 
nomenon. And who better to help rectify this 
situation than actress Natalie Trundy, who 
was not only Mrs. Jacobs diirifig this "liair- 
storic " era, but played in all four sequels to 
the original: 1970' s Beneath the Planet of the 
Apes (as the subway-dwelling mutant Albi- 
na), 197 1's Escape from the Planet of the 
Apes (as a human animal expert). 1972's 
Conquest of the Planet of the Apes and 
1973's Battle for the Planet of the Apes (as 



Lisa, chimpanzee mate of Roddy McDowall). 

Boston-born Trundy showed an affinity 
for the camera from an early age and was 
modeling by her ninth year She won her first 
acting job (as Red Riding Hood on live T\-) at 
age 11. moving on to commercials, more live 
T\\ Broadway and summer stock. One of her 
summer performances was caught by pro- 
ducer Samuel Taylor who was searching for 
an actress for his upcoming film The Monte 
Carlo Story (1957). Fourteen-year-old 
Trundy and her mother were whisked off to 
the title city, where she worked with stars 
Marlene Dietrich and Vittorio De Sica — and 
encountered Arthur Jacobs for the first time. 
They met a second time years later married 
in 1968 and lived in the Hollywood fast lane 



untU Jacobs' early death in 1973. Trundy is 
today the president of Jacobs' company 
(APJAC Productions), but devotes more of 
her time to church work and her pet dogs. 

STARLOG: According to your publicity, 
you were a teenager when you first met 
Arthur P. Jacobs. 

NATALIE TRUNDY: I met him when I was 
making The Monte Carlo Story. He was not 
yet a producer — he was still in public rela- 
tions—and he represented Marlene Dietrich, 
the principality of Monaco, Prince Rainier 
and Grace Kelly. Right in the middle of the 
street where we were filming, he told my 
mother. "When she grows up. Fm gonna 
marry her." And he did! I was his only wife. 



20 SIXRLOG/September 2001 



www.starlog.com 



St 




She was on Broadway 

at age 13 in 
A Girl Can Tell 0953). 

TRUNDY: For Thriller, I was in the first 
episode ['The Twisted Image**]. To tell you 
the truth, I don't remember how I got the pail. 
I obviously must have auditioned. It was a 
[Fatal Arrraction-lypQ] part, hounding Leslie 
Nielsen. I knew Leslie personally as well — 
he lived up the street from me [laughs]. I was 
still young and couldn't drive yet. so he used 
to pick me up in the morning and take me to 
Universal! It was directed by Arthur Hiller. 
who has now been nominated for many 
awards. Twiligln Zone ["'Valley of the Shad- 
ow"] was a little on the weird side, to say the 
least [laughs], but it was a fun show. I met 
Rod Serling — he was a ver>' nice person. He 
actually interviewed me when I was up for 
the part. 

STARLOG: How did you happen to meet up 
with Arthur Jacobs the second time? 
TRUNDY: I was living with a girl friend of 
mine. Vanessa Mitchell, and her little son. We 
shared a flat together in London. We were so 
poor — like church mice. Vanessa and I used 
to go to her son to get pennies to take the tube 
[subway] into London! Well. Vanessa went to 

Natalie Trundy opcmn^^ of the Playboy 

was Lisa, chimp 

mate to heroic 

Caesar in 

Conquest of the 

Planet of the 

Apes and its 

follow-up Battle. 



I'm sure he had many girl friends, but I was 
ihe only wife. 

STARLOG: Were you right there when he 
said that? 

TRUNDY: No, no, he said it to my mother, 
away from me. Tm looking at this man. more 
than twice my age, and I asked my mother. 
'*Who's that old man?" As far as I was con- 
cerned, he was just an old man \laughs] \ He 
was 30-something years old. for crying out 
loud, and I was not even 15 yet! 1 was just a 
little girl, and he was considerably older, 
needless to say. Anyway, we met again years 
later, and ended up married and happy. 
STARLOG: In between your first two meet- 
ings with Jacobs, you did a lot of TV. includ- 
ing Thriller and The Tw ilight Zone. 



Club in London and there 
Arthur was, sitting there, 
very morose. Arthur was 
living in London at this 
time filming Doctor Dol it- 
tie [1967 J. Vanessa was 
with her boy friend, and 
she recognized Arthur and staned chatting 
with him. She said, "You'll never guess 
who's living with me. Natalie Trundy." He 
perked up — and he rang me the next day and 
invited me out to dinner. I refused. Then, he 
sent me this great big thing of flowers that 
took up the whole living room of our poor 
flat! So I agreed to go to lunch with him. He 
sent his chauffeur to collect me. ..and it went 
from there. 

STARLOG: And you got married in London 
in 1968. Who was at your wedding? 
TRUNDY: Mort Abrahams [co-producer of 
the Apes movies], Carol Channing. Peter 
O'Toole, Petula Clark, [composer] Leslie 
Bricusse and his wife Evie [actress Yvonne 
Romainl — there were so many people. I can't 



Graduating to film, Trundy was 
Jimmy Stewart's daughter in Mr. Hobbs 
Takes a Vacation. 

even remember. Sammy Davis took a lot of 
pictures. And of course Vanessa and my par- 
ents, and my sister and aunt and uncle. 
STARLOG: Were you dating him in 1967 
when he was making the first Planet of the 
Apes'? Did you visit the sets of that movie? 
TRUNDY: How 'bout Page, Arizona? Oh, 
God in Heaven, 120 degrees! That's where 
they shot the opening parts of the movie. And 
Arthur couldn't go because he already had a 
bad heart at the time. So, guess what, I had to 
go. I called him and said. "You know, Arthur 
P.. I'm gonna dump you now!" Page. Ari- 
zona, even at nighttime, it's 100 degrees. It 
w^as awful. We had fans; there was no air con- 
ditioning. I said. '*Can anybody bring me 
another cup of iced tea. please, with a lot of 
ice? I don't want any booze, just iced tea!** 
STARLOG: Were you staying in a hotel? 
TRUNDY: If you want to call it a hotel. You 
don't want to know about it [lauglis]\ Then 
when we made Tom Sawyer [1973]. that was 
in Missouri, and that was just as bad [hot]. 1 
had to stay there for that whole thing. Then 

Escape provided Trundy with her second 
role in the Apes series— as a human. 
She went chimp for the final two films. 






Beneath Photo: Copyright 1970 20th Century Fo 




It was a happy Halloween In 1967 as Arthur P. Jacobs 
(as Dr. Dollttle, another film he produced) andTrundy 
(in ape gear) dressed up for a masquerade party. 



While making her Apes saga debut as 1 
mutant Albina in Beneath, Ixun^yj chatted 
on set with her producer husband. 



we went to Natchez, Mississippi for Hiickle- 
heny Finn [1974], and I said, "Holy Christ in 
Heaven, here I go again!" 
STARLOG: What kind of movies did Jacobs 
especially like to make? 
TRUNDY: He once said. "I will never in my 
lifetime make a film that cannot be seen by 
the whole family."* He owned the rights to 
Midnight Cowboy [1969] and he gave them 
away. He gave them envoy. Arthur said. "I 
will not have my name on it." He gave them 
to [producer] Jerr}' Hellman. and that movie 
made millions. 

STARLOG: Early on. there was apprehen- 
sion that people would just tlnd Planet of the 
Apes funny. 

TRUNDY: Really, much of it was funny, but 
a lot of it was very serious. If you think about 
it. it was also, in a way. ver>^ political. By the 
way, and this is a true stor\': During the film- 
ing, at lunchtime. the gorillas would eat with 
the gorillas... the chimpanzees would eat with 
the chimpanzees... and the other ones would 
eat together, too. One group here, one group 
there! Except for the stars, of course. 
STARLOG: This was on the first movie? 
TRUNDY: This was on all of them! 
STARLOG: These Apes movies must have 
been such large-scale, time-consuming pro- 
jects. Were they just fi\ e movies that he made 
while you knew him, or was this the "Planet 
of the Apes era" in your lives? 
TRUNDY: It was. Completely! 
STARLOG: Whose idea was it for you to 
stait appearing in the Planet of the — 
TRUNDY: [interrupting] Mine! [Laughs] 
Nobody else's! I w^anted to be in it. I wanted 
to be part of it. I was in all except the first 
one. 

STARLOG: So we can chalk your four roles 
up to nepotism — or is that too strong a word? 
TRL'NDY: No, no. no. no! Not too strong a 
word ! 

STARLOG: Linda Harrison [Nova. STAR- 
LOG #213] was the giri friend, and later the 
wife, of studio exec Richard Zanuck. so that's 
the wav she got her pait. too. 
TRUNDY: That's right. 
STARLOG: So you just said to your hus- 
band. "You're making a Planet of the Apes 



sequel [Beneath], I would like to be in if — 
was it as simple as that? 
TRUNDY: I said, 'i wanna be in it!" 
[laughs] — and I was. All of them, from then 
on! I really did 'em for fun. if you want to 
know the truth. 

STARLOG: For Beneath, would you have 
preferred playing an ape instead of the 
mutant role you did play? 
TRUNDY: Oh. I liked playing Albina. It was 
fun. and I didn't have to wear ape makeup. 
STARLOG: For at least one scene, your 
makeup had lo be an ordeal. 
TRUNDY: Those radiation bums had to be 
painted on my face eveiy single day. It really 
wasn't an unpleasant process, but taking it off 
was a killer. My makeup man had to take it 
off with a hair diyer, set on cold. And he had 
to use acetone to get it off my face. It was so 
painful I would cr>'. Day after day after day — 
that was not terrific! 

STARLOG: At one point, you also had to 
wear a mask of your own face over all that 
makeup. 

TRUNDY: We all wore appliances, they 
weren't just masks. The extras wore ape 
masks, but the stars who played apes wore 
appliances, and as Albina. I wore appliances. 
Fortunately. I don't have claustrophobia, but 
imagine people who do. I mean, they could 
not work, it would be impossible. 
STARLOG: Kim Hunter told me [in issue 
#160] that Sal Mineo, who was in Escape, 
had trouble with his ape makeup. 
TRUNDY: Yes, he did. He was claustropho- 
bic. His character didn't last too long in the 
picture, he got killed right away — and I think 
he was ver}' happy about it. to tell you the 
truth \laughs]\ Incidentally. I got along with 
Kim wonderfully — what a nice lady. A real 
lady. A wonderful woman. 
STARLOG: Did Jacobs ever appear in any 
of his own movies? 

TRUNDY: No. But always, in all of his 
movies, some character had the name of 
Arthur. In Escape, the one where I played the 
psychologist, psychiatrist, whatever, with 
Bradford Dillman, the zookeeper — his name 
was Arthur. He always got an Arthur in some- 
where! 



STARLOG: When I was a kid. the Apes mo- 
vies, to me, were just family entertainment — 
makeup, action and fun. But now that I'm 
older, I recognize some of the political and 
social undercurrents. Whose idea was it to 
slip all of that stuff into the movies? 
TRUNDY: Oh. the writers. And Arthur. 
STARLOG: Was he a political person? Did 
he have time to be? 

TRUNDY: No. he didn't have time to do 
anything. He worked 29 hours a day. 10 days 
a week. And I think that's what killed him. 
He was only 5 1 when he died. 
STARLOG: Zanuck admits that he was also 
unaware of the undercuixents at the time. 
TRUNDY: I don't think an\bod> was aware 
of it at the lime, necessarily. But when \ou 
think, years later, about all of the things that 
happened here, there and e\ ery where, it was 
very pursuant. Pursuant to what's happen- 
ing. . .e\ en today! 

STARLOG: Just out of curiosity, being the 
wife of the producer, did you get preferential 
treatment on any of the Apes sets? 
TRUNDY: Absolutely not. Don't think I 
wouldn't have accepted it. for your informa- 
tion [laughs], but I didn't! I worked as hard as 
everybod) else! 

STARLOG: You talked about your hus- 
band's workaholic lifestyle. Did that leave 
time for any home life? 
TRUNDY: Well. . .not too much. 
STARLOG: How did you deal with that? 
Did you resent it? 

TRUNDY: No. I loved him so much... we had 
a good life together. He wanted children — he 
didn't marry me to be an actress, he wanted 
children. When I had my sixth miscaiTiage, 
we were living in London. I was in the bath- 
room and I started to bleed, and I said. 
"Arthur, please call the doctor." The doctor 
came with a specialist, and they said. "Mr. 
Jacobs, she just lost another baby." All he did 
was sit on the end of the bed and cr\'. It was a 
little baby boy. I was five months pregnant. 
Well, at least I've got" two children now [by 
her second husband], God bless 'em. 
STARLOG: Drop a few names— who were 
your best friends and most frequent guests 
during those years? 



22 STARLOG/September 200 J 



www.starlog.coin 






Left: Today, Zuma Beach (where Charlton 
Heston discovered the Statue of Liberty) 
looks different toTrundy and Jeff Krueger. 



On Escape, Trundy stepped in where 
co-star Bradford Dillman (left) feared to 
tread and entered the tigers' cage. 




As"Stevie" Branton in Escape, Trundy 
bonded with Zira (Kim Hunter), "a wonderful 
woman." Trundy loved Roddy McDowall, too. 



TRUNDY: Well, Michael Caine and his wife, 
Gregoiy Peck and his wife and people like 
Quincy Jones from ihe music end. And 
Roddy McDowall alwa\ s. Arthur and Rodd\' 
loved to play Monopoly. We used to show 
movies every Saturday night — we had a pro- 
jection room in our house. There were certain 
people who were "regulars." and Roddy was 
always one of them, because Arthur and he 
adored each other. .After the other guests 
would leave — I would already be half- 
asleep — it would be around midnight and 
Anhur and Roddy would sit on the floor and 
Stan playing Monopoly. And Monopoly can 
go on forever. Finally around 3 or 4 a.m.. I 
would say. "Good night, guys. I'm going to 
bed.'* Then I would come down at about 8 
a.m., and they were still playing Monopoly. I 
would say, "I think it's coffee time, guys," 
and they would reply. "No, we're not finished 
yell" [Laui^hs] They did it all the time. 
STARLOG: Just the two of them? 
TRUNDY: Paul Dehn [the British writer of 
the Apes sequelsl, who stayed with us when 
he was here in America, sometimes played 
too. One weekend Groucho Marx was 
there — he was so old by then! He said. "Can 
I play?" and Arthur said. "No. Just sit there 
and smoke your cigar I" [Laughs] 
STARLOG: What was it that you and your 
husband liked about McDowall? 
TRUNDY: He was a vcr>' sweet, caring per- 
son, and veiy intelligent. I adored him. But 
the two of us listened to very different types 
of music. He enjoyed classical, while I 
always listened to rock 'n' roll. When we 
were together in an Apes movie, we had an 
agreement that whoever reached the makeup 
department first would win the right to pick 
the music we would listen to. I would have 
the Bealles in my machine, and he would 
have classical music in his. It was a good- 
natured race between us to see who would get 
to choose the music for the day. I like classi- 
cal music, but at 2 a.m.. when you're tr\-ing to 
stay vaguely awake, it can put you right to 
sleep [laug!is\[ 

STARLOG: At 2 a.m.. would you be having 
your makeup taken off at the end of a w ork 
day, or put on at the beginning of one? 



TRUNDY: It was the beginning. It took four 
hours to put the appliances on. Before they 
put the bottom pan of the face on. the mouth, 
Roddy and I used to order our breakfasts. 
Here we were ordering breakfasts at. like. 
4:30 or 5 a.m. But [the commissary] didn't 
serve makeup men breakfast. So I would 
order 20 hard-boiled eggs. 10 orders of 
French toast. 10 steaks, lots of toast, freshly 
squeezed orange juice and coffee — the coffee 
they made in the makeup room was lousy! 
Finally, the guy in the commissary looked at 
me and said, ''Miss Trundy! How can you 
consume all this food and stay so slim?" I 
said. "Easily!" [Laughs] 
STARLOG: Who were the makeup men? 
TRUNDY: My favorite makeup man was 
Jack Barron. He was exclusive to me. 
Roddy's was Joe DiBella. And, of course, 
John Chambers and Dan Striepeke. who were 
like the supervising makeup men, would 
come around. 

STARLOG: Being on the set of an Apes 
movie must have been quite a trip. 
TRUNDY: We were shooting Escape in Be\ - 
erly Hills. At lunchtime, we would all traipse 
to La Scala — the owner was a dear friend. 



You should have seen us going into this 
restaurant, w ith Kim and Rodd> in ape make- 
up [laughs]l Sitting in the restaurant, eating 
veal piccata, salads and eveiything else. And 
when we got back to the set. the makeup man 
would look at us and say. "Boy. you must 
have enjoyed it 'cause you look like disas- 
ters!" — you know, from the chin down! And 
walking through the streets of Beverly Hills 
to the restaurant, people stopped and stared. 
"Are we really .seeing this? Is this for real?'' 
Some people even bumped into each other! 
STARLOG: Any other Escape anecdotes? 
TRUNDY: I went into a cage with a tiger. I 
had no fear. I will tell you something: If they 
don't sense fear, they won't hurt you. The 
trainer told me. "The only thing they can't 
stand — it drives them crazy — is if you are on 
your period. They smell it." I used to go in 
with them and play. They never put a fang out 
to me, never a claw. They were so sweet. 
There was a tiger and a baby lion. 
STARLOG: Bradford Dillman, your leading 
man — did he also go in the cage? 
TRUNDY: No. He looked and said. "I don't 
think so." [Laughs] He asked me. "How can 
vou do that?", and I said, "I have no fear 





Apes expert Bill Blake (left) andTrundy 
visit makeup maestro John Chambers and 
the Oscar he won for the original film. 

toward them, and therefore they have no fear 
toward me." That's how it works. And. 
beheN e me. these guys were not declawed! 
STARLOG: Your husband gets his share of 
credit for the Apes movies — and deserved- 
ly — as well as some others. But I often think 
the late Paul Dehn goes unnoticed. Do you 
agree? 

fkUNDY: I certainly do. I think Paul got 
short-changed. He was a love. He was so 
quiet — sometimes you would walk into a 
room and think he was snoozing. But he was 
not. He was a very sweet, quiet man. 
STARLOG: Was there ever any concern on 
anybody's pail that you were showing up in 
all of these Apes movies in different roles? 
TRUNDY: No. I don't.think so, because they 
changed me around. In Beneath, I was all 
covered up. and in Escape, they dyed Fiiy 
blonde hair strawbeny blonde. Then, 1 was 
an ape in the last two. 

STARLOG: So what was your major com- 
plaint about the ape makeup? 
TRUNDY: Those big brown contact lenses 
they put in my eyes. One night Arthur and 1 
were at a dinner paity at the home of Walter 
Grauman. the director. The lenses, of course, 
were out by then. Suddenly. I turned to 
Arthur and said. "I can't see anything I Take 
me home!" I was cr\'ing. in the middle of din- 
ner. So he took me home and called his doc- 
tor Charlie Ki\o\\it7, who said. "Put wet 
compresses on her e> es "ril I gel the ophthal- 
mologist." The\ came and looked at me and 
Arthur w as told that I could never wear those 
lenses again. So from then on, for the rest of 
the mo\ie. I had to work with my eyelids 
••down." so the camera didn't see my blue 
eyes. An ape has to have brown eyes I So 1 just 
kept *em closed, like I was sleeping. 
STARLOG: Where were you when you 
heard that Jacobs had died? 
TRUNDY: 1 was in the South, in Mississippi, 
making .Arthur's Hucklebeny Finn. He 
couldn't go because of the humidity — he had 
alreadx had one heart attack, he couldn't sta\ 
there. But he used to call me e\ery morning. 
10 a.m. my time in Mississippi. 7 a.m. here in 
Los Angeles. He was an early riser. One 
morning I was trving to teach Southern belles 
how to waltz when Bobbv Greenhut, the 




All aped up, Blake (who did live 
Apes stage shows in makeup 
for years) consults with Trundy. 



associate producer, said. "Phone call." 1 
assumed it was my husband. I went to the 
office, to the phone, and it was Handy Andy, 
this chap who worked for us. I said. "Where's 
Arthur?" and he said. 'Arthur's dead." My 
legs went to rubber. 1 collapsed. I didn't faint, 
but I went down on the floor. Greenhut came 
in and said. "What's wrong?" and I said, 
"Arthur has passed away." 
STARLOG: Where did he die? 
TRUNDY: He was found in his bed. When 
Andy came that morning to pick him up to 
take him to the studio, the housekeeper said. 
"Mr. Jacobs didn't wake up." So Andy went 
up and found that he was gone. He was lying 
on top of the bed in his pajamas and dressing 
gown, with the dogs all ciround him. like they 
were trying to keep him warm. That's how I 
found out. And then they couldn't get me out 
of Natchez. Mississippi! They only had two 
mail planes a day there! So what they did was 
gel the Governor's Lear jet and brought it 
down. I had to ride to the plane with a police- 
man, on the back of a motorcycle — there 
were only two cops in Natchez. I arrived in 
LA in jeans and a T-shirt. Charlie Kivowitz 
met me at the airport and said. "Let's go into 
the VIP Room, I'll give you a shot of Vali- 
um." I said. "No, I don't w ant a shot of Vah- 
um. I just want you to take me to my 
husband." Arthur had already been brought to 
a mortician. Charlie hemmed and hawed and 
I said. "Charlie. I have a hundred-dollar bill 
in my pocket. If you don't take me. I'll take a 
cab." So he took me to the mortician's place, 
and the mortician came out and said, "Your 
husband isn't quite ready yet." I said. "I don't 
care if he's 'ready' or not. Just leave me alone 
with him." And I went in and sat and talked to 
him for about an hour. Just holding on to him. 
And... it was OK. Do you think I cared 
whether he \\ as 'ready' or not. from a morti- 
cian? Do you think I needed a shot of Valium 
from the doctor? I don't think so! 

Then. I got back to my house — I had 
asked for nobody to be there. Well, the house 
was ///// of people. About the only good per- 
son was Gene Kelly — he manned the phones. 
He said. "Sweetheart, just go in the other 
room, leave all these people alone." And then 
there was another person who everybody 



used to criticize. Rona Barrett. She lived 
across the street. She also manned the 
phones. People used to call her a bitch. She 
was not a bitch, she was just a [Hollywood 
gossip] columnist for cryin' out loud, doin' 
her job. But. believe me. she was at my house 
and started shooing people out. "Gel out. 
Out!" She came up to my boobs, she was so 
short \ laii<^hs\, but she got the guests out! She 
said. "Mrs. Jacobs has to be alone now. Mr. 
Kelly and I will take care of everything." 
Which they did. 

STARLOG: Did you retire from acting after 
his death? 

TRUNDY: I did a couple of TV shows, like 
Quincy. but I let it go. I did remarr\'. and I 
have two beautiful children. 24 and 23. 
STARLOG: Your second husband — are you 
slill married to him? 
TRUNDY: No. Got rid of him [laiighs\\ 
STARLOG: In more recent years, you made 
a humanitarian trip to India. 
TRUNDY: Not once— I've been there 12 
times! I worked with Mother Teresa, and I 
slept in her convent. She had a walking stick, 
and w e would go up and down the streets and 
she would poke people who were lying in the 
street. If they w ere alive, and not too ill. they 
would go to the House of the 111. If they were 
dead, they w ould be taken to the House of the 
Dying, where she would pray over them. 
Then we would fmd the poor little babies — 
they were always giris. 'cause |in India] they 
only want boys. The little giris they get rid of. 
which is really awful. They're all so adorable, 
with these big black eyes, and they're so 
small I could almost put them in the palm of 
my hand. And so we would pick up the 
babies. I put them in a big knapsack and we 
would take them to [the oiphanagej. I've 
adopted about 25 of them. 
STARLOG: You adopted 25 babies? They 
li\ed w ith you? 

TRUNDY: No. no— I pay for them. I've got 
adopted children in India and China, about 
40. I support them. Because the nuns cannot 
afford to support them. What do you think I 
would sleep in a convent for [hmghsY! I was 
on the floor, with the other nuns, and got up 
at 4 a.m. Mother Teresa used to come and 
poke me with her damn stick! I would say. 
"I'm up. .Mother!" 
STARLOG: And today ? 
TRUNDY: I volunteer at church. 1 spend a lot 
of time there. 1 feed the homeless every Sat- 
urday and Sunday afternoon. I happen to be 
very Catholic and so I also go to Mass ever>' 
day. 

STARLOG: Arc you going to see the new 
Apes movie? Are you looking forward to it? 
TRUNDY: I will go to sec it, but Fm not 
looking forward to it. The first Apes belonged 
to my husband. An(\ with all of this publicity 
about the new movie coming out. nobody 
ever mentioned his name. If you'll permit me 
a closing comment. I want to say that the 
most important thing that I loved was being 
with him. Arthur took me everywlierc he 
went, even if it was just to New York for a 
day — eveiywhere. He never left me behind. I 
lo\ed it. Imagine if they had frequent tlyer 
miles then! ^ 



24 STARLOG/Septemher 2001 



www.starlog.com 



Order now while issues last! 




Note: All issues Include numerous articles & 
interviews. Only a few are listed for each entry. 



#2 Gene Roddenberry. 
Space: 1 999 EP Guide. 
Logan's Run. War of the 
Worlds. S50. 

#3 Space: 1999 EP Guide. 
Nichelle Nichols. George 
Takei. DeForest Kelley. S35. 

#4 3-p SF Movie Guide. 
Richard Anderson. Outer 
Limits EP Guide. S50. 

#5 3-D films. Space: 1999 
& L/FO EP Guides. SI 5. 

#6 Robert Heinlein on 
Destination Moon. 
Animated Trek. S25. 

#7 Star Wars. Rocketship 
X-M. Space: 1999 Eagle 
blueprints. Robby. S35. 

#8 Harlan Ellison. Star 
Wars. The Fly. S25. 

#10 George Pal. Ray 
Harryhausen. Isaac 
Asimov. $20. 

#11 CE3K. Prisoner EP 
Guide. Incredible 
Shrinking Man. Rick 
Baker. $20. 

#12 Roddenbeny. Doug 
TnjmbuH. Dick Smith. 
Steven Spielberg. S10. 

#13 David Prov^se. Pal. 
Logan's Run EP Guide. S5. 

#14 Project UFO. 
Jim Danforth. Saturday 
Night Live Trek. S5. 

#15 Twilight Zone. This 
Island Earth. Galactica. 
Richard Donner. S5. 

#16 Phil Kaufman. 
Fantastic Voyage. 
Invaders EP Guide. S5. 

#17 Roddenberry. 
Spielberg. Joe 
Haldeman. Ralph 
McOuarrie. 35. 

#18 Empire. Joe Dante. 
Dirk Benedict. Richard 
Hatch. 55. 

#19 Roger Gorman. Gil 
Gerard. Star Wars. CE3K 
FX. S5. 

#20 Pam Dawber. Kirk 
Alyn. Buck Rogers. 
Superman. 85. 

#21 Mark Hamill. Lost in 
Space EP Guide. Buck 
Rogers. S5. 

#22 Special FX careers. 
Lome Greene. Veronica 
Cartwright. ALIEN. 85. 

#23 Dan O'Bannon. 
Prowse. Dr Who. The 
Day the Earth Stood StilL 
ALIEN. 85. 

#24 3rd Anniversary. 
William Shatner. Leonard 
Nimoy. 86. 

#25 Ray Bradbury. 
ST:TMP Thing. $5. 

^26 ALIEN. Ridley Scott. 
H.R. Giger. Gerry 
Anderson. S5. 



#27 Galactica EP Guide. 
ST: TMR ALIEN FX. 
Nick Meyer. 85. 

#28 Lou Ferrigno. 
Wonder Woman EP 
Guide. 85. 

#29 Erin Gray. Buster 
Crabbe. 85. 

#30 Robert Wise. 
Chekov's Enterprise. 
Questor Tapes. 
Stuntwomen. 815. 

#31 Empire. 20.000 
Leagues Under the 
Sea. Chekov's 2. 85. 

#32 Sound FX LP. Buck 
Rogers & Trek designs. 
Chekov's 3. 86. 

#33 Voyage EP Guide. 
Ellison reviews Trek. 85. 

#34 Tom Baker. Irv 
Kershner. Buck Rogers. 
Martian Chronicles. 81 5. 

#35 Billy Dee Williams. 
Empire & Voyage FX. 
85. 

#36 4th Anniversary. 
Nichols. Prowse. 
Glen Larson. Yvette 
Mimieux. 56. 

#37 Harrison Ford. 
Terry Dicks. First Men 
in the Moon. 85. 

#38 CE3K. Buck Rogers 
EP Guide. Kelley. 85. 

#39 Buck Rogers. Tom 
Cort>ett. Erin Gray. 
Fred Freiberger. 85. 

#40 Hamill. Gerard. 
Roddenberry. Jane 
Seymour. Freiberger 2. 
Empire FX. 85. 

#41 Sam Jones. 
John Carpenter. 85. 

#42 Robert Conrad. 
Mark Lenard. Dr. Who. 
Childhood's End. 86. 

#43 Altered States FX. 
David Cronenberg. 
Hulk EP Guide. 85. 

#44 Altered States. 
Bob Balaban. 85. 

#45 Peter Hyams. 
Thorn Christopher. 
Escape from NY. 85. 

#46 Harry Hamlin. 
Superman II. Greatest 
American Hero. 85. 

#47 Takei. Sarah Douglas. 
Doug Adams. Outland. 85. 

#48 5th Anniversary. Bill 
Mumy. Ford. George 
Lucas. Carpenter. 86. 

#49 Kurt Russell. Lucas 
2. Takei. 007 FX. 
Raiders. 815. 

#50 Lucas 3. Spielberg. 
Sean Connery. Lawrence 
Kasdan. Ray Walston. 
Heavy MetaL S1Q0. 

#51 Kasdan 2. 
Shatner. Harryhausen. 



Roddenberry. Jerry 
Goldsmith. 85. 

#52 Blade Runner. 
Shatner. 85. 

#53 Bradbury. Patrick 
Macnee. Blade Runner. 
85. 

#54 3-D Issue. Bob Gulp. 
Connie Selleca. Terry 
Gilliam. Leslie Nielsen. 
Raiders FX. Trek 
bloopers. 85. 

#55 Philip K. Dick. Ed 
Bishop. Gulp 2. Trumbull. 
Trek bloopers 2. 85. 

#56 Zardoz. Triffids. Trek 
bloopers 3. 85. 

#57 Lost in Space Robot. 
Conan. Caroline Munro. 
Ron Cobb. 810. 

#58 Blade Runner. The 
Thing. Syd Mead. Trek 
bloopers 4. 85. 

#59 The Thing. 
Arnold Schwarzenegger. 
Kirstie Alley. Merritt 
Butrick. 875. 

#60 6th Anniversary. Star 
Trek II. Carpenter. ScotL 
TRON. SB. 

#61 Tre/c// 2. Walter 
Koenig. Sean Young. 
Road Warrior 815. 

#62 Ricardo Montalban. 
Koenig 2. James Doohan. 
Ken Tobey. Dr. Who. 85. 

#63 Spielberg. Nimoy. 
Russell. Rutger Hauer. 
James Homer. 825. 

#64 David Warner. 
Peter Barton. $150. 

#65 Arthur C. Clari<e. 
Hamill. E.IFX. Dark 
Crystal. 85. 

#66 Dark Crystal. 
Frank Herbert. 
Frank Marshall. 85. 

#67 TRON. "Man Who 
Killed Spock." 85. 

#68 007. Harve Bennett. 
Richard Maibaum. 85. 

#69 Anthony Daniels. 
Tom Mankiewicz. 85. 

#70 Man from U.N.C.L.E. 
Debbie Harry. Chris Lee. 
John Badham. 85. 

#71 Carrie Fisher. Judson 
Scott. Dan O'Bannon. 85. 

#72 7th Anniversary. 
Bradbury. Hamill. Shatner. 
Roger Moore. June 
Lockhart. 86. 

#73 Cliff Robertson. 
Robert Vaughn. Roy 
Scheider. Jason Robards. 
Hamill 2. 85. 

#74 Molly Ringwaid. 
Michael Ironside. Malcolm 
McDowell. Lorenzo 
Semple. 85. 

#75 Nancy Allen. John 
Lithgow. George Lazenby. 



McQuarrie. Semple 2. 85. 

#76 Buster Crabbe. Sybil 
Danning. 86. 

#77 Phil Kaufman. Chuck 
Yeager. Tom Baker. 
Tnjmbull. 85. 

#78 Ferrigno. Meyer. 
Clarke. Tnjmbull 2. 
Lance Henriksen. 
Scott Glenn. 85. 

#79 Dennis Quaid. 
Kershner. Jon Pertwee. 
David Hasselhoff. 85. 

w80 Billy Dee Williams. 
Anthony Ainley. 
Jed/ FX. 85. 

#81 Alan Dean Foster. 
Fred Ward. Veronica 
Cartwnght. Greystoke. 
Buckaroo Banzai. 85. 

#82 Schwarzenegger. 
Max von Sydow. Chris 
Lloyd. Faye Grant. Dr. 
Who. Jedi FX 2. 84. 

#83 Kate Capshaw. Robin 
Curtis. Fritz Leiber. 
Marshall. Dr. Who. V. 
810. 

#84 8th Anniversary. 
Nimoy. Frank Oz. Chris 
Lambert. Marc Singer. B. 
Banzai. Jedi FX 3. 86. 

#85 Jim Henson. 
Jeff Goldblum. 
Bob Zemeckis. Ivan 
Reitman. Dante. 85. 

^86 Peter Weller. John 
Sayles. Chris Columbus. 
Rick Moranis. Lenard. 
Jedi FX 4. 8125. 

#87 Ghostbusters FX. 
Kelley. Prowse. David 
Lynch. 2010. Blade 
Runner 85. 

#88 Terminator. 
Schwarzenegger. 
Kelley 2. Keir Dullea. 
V. Dune. Gremlins. 86. 

#89 Jane Badler. Helen 
Slater. Patrick Troughton. 
Jim Cameron. Irish 
McCalla. Starman. 
Buckaroo Banzai. 85. 

#90 Scheider. Karen 
Allen. Ironside. Dean 
Stockwell. 8200. Rare. 

#91 Koenig. Michael 
Crichton. V. Dune. 
Terminator 810. 

#92 Carpenter. Tom 
Selleck. Gilliam. Brazil. 
Barharella. 85. 

#93 Donner. Lithgow. 
John Hurt. Robert 
Englund. Simon Jones. 
Dr Who. Jedi FX 5. 
Monty Python. 810. 

#94 Doohan. Sayles. 
William Katt. John Bany. 
Michelle Pfeiffer. V. Jedi 
FX 6. 85. 

#95 Grace Jones. Matthew 
Broderick. Butrick. Hauer. 
Mad Max Hi Cocoon. 85. 

#96 9th Anniversary. Peter 



Gushing. Jonatnan Harris. 
Tina Turner. John Cleese. 
Moore. Jedi FX 7. 86. 

#97 Mel Gibson. Ron 
Howard. River Phoenix. 
Chris Walken. Donner. 
Glenn. e7TF810. 

#98 Michael J. Fox. 
George Miller. Dante. 
Jennifer Beals. 85. 

#99 Anthony Daniels. 
Zemeckis. "Cubby- 
Broccoli. Mad Max. 85. 

#100 Lucas. Nimoy. 
Carpenter. Ellison. 
Harryhausen. Nichols. 
Matheson. Gushing. 
Roddenberry. Irwin Allen. 
86. 

#101 Ellison. Ridley 
Scott. Sting. Roddy 
McDowall. Macnee. Takei. 
Fred Ward. 85. 

#102 Spielberg. 
Mel Blanc. Michael 
Douglas. In^^in Allen 2. 
Alley. Doug Adams. Peter 
Davison. 85. 

#103 Daryl Hannah. 
Hauer. Rob Bottin. Elmer 
Bernstein. 85. 

#104 Peter Mayhew. 
Stephen Collins. Ken 
Johnson. Oafer/./m/Ys. 85. 

#105 Lambert. Colin 
Baker. Jonathan Pryce. 
Grace Lee Whitney. 
Planet of the Apes. VEP 
Guide. Japaniniation. 85. 

#106 Nimoy. Tim Curry. 
Clancy Brown. Terry 
Nation. ALIENS. 
Japanimation. 85. 

#107 Henson. Tom 
Cruise. Dicks. W.D. 
Richter. Jean M. Auel. 
ALIENS. 85. 

#108 10th Anniversary. 
Roddenberry. Russell. 
Martin Landau. Chuck 
Jones. Michael Biehn. 
Rod Taylor. David 
Hedison. BTTF V. 86. 

#109 Sigoumey Weaver. 
Henson. Carpenter. Takei. 
Ally Sheedy. Melanie 
Griffith. 85. 

#110 Bradbury. Cameron. 
Cronenberg. Bob Gale. 
Geena Davis. Nimoy. 85. 

#111 Columbus. Sarah 
Douglas. Nick Courtney. 
Martin Caidin. 810. 

#113 Doohan. Robert 
Bloch. Rick Baker. 
Little Shop of Horrors. 
Starman TV. 850. 

#114 Nimoy. Guy 
Williams. Robert Hays. 
Gareth Thomas. 8150. 

#116 Majel Barrett. Robin 
Curtis. Whitney. Paul 
Darrow. Nichols. 875. 

#117 Catherine Mary 
Stewart. Adam West. 
Frank Oz. Nation. Lenard. 
RoboCop. S5. 



#118 Shatner. Rod Taylor. 
Jeff Morrow. Michael 
Keating. D.C. Fontana. 
George RR Martin. 810. 

#119 Doc Savage. Takei. 
Kenwin Matthews. 85. 

#121 Chris Reeve. Mel 
Brooks. Dante. Lithgow. 
Weller Henriksen. Karen 
Allen. SlO. 

#122 007 Film Salute. 
Martin Short. Duncan 
Regehr. Lost Boys. 8100. 

#123 Nancy Allen. Dolph 
Lundgren. Tim Dalton. 
RoboCop. ST:TNG. 875. 

#124 Burt Ward. Kevin 
McCarthy. Gary 
Lockwood. Courteney 
Cox. STTNG. 815. 

#125 Bnjce Dem. Gerry 
Anderson. Carpenter. 
Cameron. Princess Bride. 
86. 

#126 Marina Sirtis. 
Schwarzenegger. 
Macnee. Bill P^xton. 
Michael Praed. Robert 
Hays. Maureen 
O'Sullivan. B&B. 825. 

#127 Lucas. Harryhausen. 
Davison. Kathleen 
Kennedy. Gates 
McFadden. RoboCop. 850. 

#128 John de Lancie. 
Ron Periman. James Earl 
Jones. William Campbell. 
Weller. Darrow. Koenig. 
Prowse. Bradbury. 850. 

#129 William Windom. 
Wil Wheaton. Robert 
Shayne. Michael 
Cavanaugh. Starman. 
RoboCop. 875. 

#130 Tim Burton. Denise 
Crosby Jack Larson. 
Pertwee. Munro. B&B. 85. 

#131 Jonathan Frakes. 
Hays. Geena Davis. Larson 
2. B&B. 85. 

#132 12th Anniversary. 
Howard. Alan Young. Russ 
Tambl^Ti. Janet Leigh. Colin 
Baker. RoboCop. Roger 
Rabbit. Beetlejuice. 86. 

#133 Bob Hoskins. C.J. 
Cherryh. Roy Dotrice. 
Patnck Culliton. Sirtis. 
Goldsmith. Badler. R. 
Rabbit. V. B&B.SW. 

#134 Zemeckis. Crosby. 
Cherryh 2. James Caan. 
Ken Johnson. Sylvester 
McCoy Big. 85. 

#135fl.fladt>/?.S7. Patrick 
McGoohan. 

Jerry Sohl. Marta Kristen. 
Van Williams. Alien Nation. 
86. 

#136 Mandy Patinkin. Jock 
Mahoney. Carpenter. Sohl 
2. Losr Trek. 85. 

#137 MaishailWarofthe 
Worlds. 85. 

#138 Michael Dom. John 
Larroquette. Jean-Claude 
Van Damme. John 



Schuck. Lenard. Phyllis 
Coates. John Colicos. R. 
Rabbit. B7. 85. 

#139 Patrick Stewart. 
Gareth Thomas. Landau. 
Coates 2. Nigel Kneale. 
Phantom of the Opera. 85. 

#140 Bill Murray. Kneale 
2. Wheaton. Rex Reason. 
Eric Stoltz. B&B. 85. 

#141 Diana Muldaur. 
Jared Martin. Amanda 
Pays. Gilliam. Bennett. 
Kneale 3. 85. 

#143 Periman. Kelley. 
Robert Picardo. Tracy 
Torme. Indy III. Batman. 
SF costuming. 850. 

#144 13th Anniversary. 
Shatner. Richard Chaves. 
Kim Basinger. Harry 
Harrison. Roger Rabbit 
FX. Indy III. Batman. 86. 

#145 Tim Burton. John 
Rhys-Davies. William 
Gibson. Shatner 2. 
Dalton. Moranis. Cobb. 
RR FX 2. 86. 

#146 Matt Frewer. Andre 
Norton. Phil Akin. Cesar 
Romero. Doohan. Takei. 
Abyss. RR FX 3. 810. 

#147 Danny Elf man. 
Nimoy. John Variey. River 
Phoenix. Norton 2. 
Koenig. CD Barnes. B7 
EP Guide. RRFX 4. 810. 

#148 Tony Jay. Julie 
Newmar. Chaves. Biehn. 
Warner. RRFX 5. B7 EP 
Guide 2. 8125. 

#149 Yvonne Craig. 
Robert Lansing. BTTF 2. 
RR FX 6. 85. 

=152 Leslie Stevens. 
Gareth Hunt. Jay 
Acovone. A. Nation. B&B. 
"Real Indy." 85. 

#153 Bradbury. Lee 
Meriwether. Scott Bakula. 
Edward Albert. B&B. Alien 
Nation. 85. 

#154 Ron Koslow. Sally 
Kellerman. T. Recall. 
BTTF 3. S5. 

#155 Phil Farmer. Nancy 
Allen. Paul Winfield. Colm 
Meaney. Ironside. 
Flatliners. BTTF 3. 85. 

#156 14th Anniversary. 
Schwarzenegger. Gale. 
Dom. Nielsen. Dante. 
Farmer 2. Starman EP 
Guide. 86. 

#157 Paul Vertioeven. 
Ronny Cox. Marshall. 
Weller. Walston. 85. 

#158 Chris Lee. Kershner. 
Haldeman. Darkman. 85. 

#159 Orson Scott Card. 
Nicolas Roeg. Michael 
Filler. Leiber. Land of 
Giants m'Aers. 810. 

#160 Whoopi Goldberg. 
Kim Hunter. GRR Martin. 
Eric Pierpolnt. Ghost. 
Flash. Giants 2. 85. 



#161 Jane Wyatt. Martin 
2. Suzie Plakson. Liam 
Neeson. Ghost. Robin of 
Sherwood. $6. 

#162Stockwell. Patrick 
Swayze. LeVar Burton. Val 
Guest. Don Matheson. S6. 

#163 Mumy. Guest 2. 
McFadden. B&B. B7. S6. 

#164 Dan Aykroyd. John 
Agar. Richard Denning. 
Tim Burton. Jerome 
Bixby. Alien Nation. SB. 

#165 Dick. FX 2. S6. 

#166 Robin Hood. 
Rocketeer. Mark Ryan. 
WWoHds EP Guide. $6. 

#167 Pertwee. Mary E. 
Mastrantonio. Creature 
from Black Lagoon. S6. 

#168 15th Anniversary. 
Terminator 2. Lost in 
Space. Michael 
Moorcock. S7. 

#169 Schwarzenegger. 
Roald Dahl. Alan Arkln. 
Bill& Ted 2. Dr. Who. S7. 

#170 Cameron. Keanu 
Reeves. Robert 
Patrick. 72. STTF 
Dr. Who. Time Tunnel 
writers. S7. 

#171 Brent Spiner. 
Gilliam. Fred Saberhagen. 
72. 7unne/ writers 2. $50. 

#172 Koenig. Brian Aldiss. 
B7. B&B. S6. 

#173 Keliey. Frakes. 
Bakula. Teri Garr. Alien 
Waf/on EP Guide. SI 0. 

#174 Stewart. Nimoy. 
Takei. Lambert. S6. 

#175 Roddenbeny Salute. 
Shatner. Dom. Nichols. 
Macnee. 
Star Wars. SB. 

#176 Anthony Hopkins. 
Dochan. Kim Cattrall. 
Wheaton. Jon Lovitz. 
Kathy Ireland. S7. 

iil77 Nick Meyer. 
Carpenter. Tarzan. S7. 

#178 Batman Returns. 
Honey, I Blew Up the Kid. 
Universal Soldier. Young 
Indy. S7. 

#179 Tim Thomerson. 
Robert Colbert. B&B. 
ALIEN. SB. 

#180 16th Anniversary. 
Tim Burton. James 
Darren. Mariette Hartley. 
Henriksen. S7. 

#181 Asimov tribute. 
Deanna Lund. Stuart 



Gordon. Lundgren. 
Voyage writers. S7. 

#182 Lloyd Bridges. 
Van Damme. Roland 
Emmerich. Voyage 
writers 2. B5. S7. 

#183 Danny DeVito. 
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By IAN SPELLING 






No nlatter what 
r '*planet she's 
from, Lisa Marie 
' is'dlways at 
'honie in Tim 
Burton's films. 

't\ W^t^OG/SeptemherlOOl 11 




A true cinephile, 
Lisa Marie shows 
her support for 
filmmakers by 
hosting Exposure, 
the SCI Fl 
Channel's short 
film series. 



Hosting and acting, Lisa Marie says, are 
thoroughly different experiences. And. she's 
quick to admit, she's still figuring out those 
differences. "Hosting is personal in a way 
that acting isn't." she says. "Tm looking into 
the camera when 1 host, which is basically 
looking at you. looking at the audience. I've 
been experimenting with that, making the 
adjustment, so that the camera is a person. 
It's like I'm discussing film with this person 
and trying to make it a very intimate and 
comfortable experience for them. I'm play- 
ing with it. 

''And with TV. it's all very fast. It was dif- 
ferent to come into something, not having 
had any testing, and just do it. You make 
changes as you go and it gets better, but you 
can't look back to the tVst show or the second 
because they are in the past. They're over and 
done. You just look forward. So it's a good 
lesson on how to do things — letting go, mov- 
ing forward and finding your way. The first 
few shows I did were all just about figuring it 
out. Now we're into a groo\e." 

Prime Mate 

Lisa Marie will host a total of 20 episodes 
for Exposure. In fact, she'll be deep into her 
run w hen she turns up as Nova in the Planet 
of the Apes remake. The character shares the 
same name as the human played by Linda 
Harrison in the original 1968 movie and its 
first sequel, but the rest is a matter of relative 
evolution. "'Nova is a chimpT Lisa Marie 
reveals. **She's ver>' mischievous and sexy. In 
the ape societ>\ I represent that coquettish, 
sex-kitten character. I'm married to an older 
poHtician, who's played by Glenn Shadix. I 
love Glenn I Tim has worked with him a few 
times and I w^orked with Glenn on The 
Adventures of Stain Boy [Burton's Shock- 
wave, com online animated series]. We were 
the only two regular actors on that. We had a 
lot of fun together, and wait until you see him 
[in He's an orangutan. 

*The fun part about m\' role w as the 
research and everything I did 
for preparation, from going to 
the zoo and reading books to 
watching nature videos about 
chimps and working with an ape movement 
specialist. The specialist was brilliant and 

28 STAKLOG/Septemher 2001 



taught all of us the stunt and body work on 
the movie. ho\\' to move like an ape. He ran 
our Ape School. Evei-y movement mattered. 
Apes are very focused. They are ver\' specif- 
ic. They are not wishy-washy like humans. 
Working with that intensit}' was interesting, 
and integrating the coquettishness and flirta- 
tiousness into the ape nature w as fun and also 
a challenge for me. I didn't want to make 
Nova exactly human. I wanted to make her 
more animal-like, more wild and primal, 
unexpected and even dangerous. 

**Many people are afraid of chimps, but 
1 actually have a connection with them." 
the actress explains. *T spent a day with 
this one chimp. Joe. and then saw him 
again. I was able to form a relationship 
with Joe and it was very cool for me to 
have that experience, to be that close to a 
chimpanzee. It's really fulfilling. I have that 
with dogs. too. I connect on such a soul- 
heart level with dogs. It's unconditional 
love. To have that with another type of ani- 
mal just fascinates me. It was veiy exciting." 

Lisa Marie politely declines to define 
Planet of the Apes as either a remake or a 
reinterpretation, noting that it's Burton's 
film and that he should address such 
concerns. She does, however, ack- 
nowledge that the project is gigan- 
fic in scope. "It's a big HoUywwd 
movie." says the actress, who 
actually gets to utter a few lines 
of dialogue this ume. 'T like 
this kind of movie when 
they're done well and the 
material is taken seri- 
ously. I love Law- 
rence of Arabia 
and films like 
that. Movies 
now are 



so corporate, especially the big ones. Tim 
tries to make his movies as personal as possi- 
ble within the system. 

"As an actor. I personally tend to be more 
interested in the lower-budget movies. I find 
them much more moving. But I like any 
movie that touches me in a way or that makes 
me laugh. It doesn't matter if it's a big Holly- 
wood movie or if it cost less than a million 
dollars. The writing, the story, the casting, the 
directing and the energy of it — all of that is 
what is important." 

Screen Date 

Lisa Marie has now acted in four of Bur- 
ton's movies. Her first, as Vampira in Ed 
Wood, had her playing a TV host long before 
Exposure came around. ''I'll always be fond 
of Ed Woody she reflects, "because that was 
the first time I worked with Tim. I loved that 
movie. It was a beautiful film with a lot of 
heart and soul. I loved the spirit behind it. 
Eveiybody just went in and did it and had fun 
and took chances. And he was so much about 
that. Ed Wood. It was inspirational. It's hard 
now to set an\ movies made, but Tim was 





It 



Lisa Marie had no 
J/fr problem comprehending 
her Martian Girl role in 
Mars Attacks!, but still 
doesn't understand why 
the film was defeated at 
the U.S. box office. 




like Ed in getting it done. He was so enthusi- 
astic, so positive and forward thinking. 

"It was my first fihii with Tim and I 
remember being very excited. I felt really 
curious about the challenge of playing my 
role. Maila Nurmi [whose TV hostess alter- 
ego was Vampira] was somebody who 
was real and she was still alive. I 
found her. got in touch and spent 
some time with her. We went to lunch. 
I wanted to get a sense of her. It was 
strange to play someone who was 
alive because I fell more pressure. I 
wanted to do it justice and make it 
real. When you play someone who's 
alive, you also want to make that per- 
son feel good about what you're doing and 
about what they've done and who they are. I 
spoke to Maila afterward and she was so 
thrilled about the movie. She was ver>- happy. 
So. for me. Ed Wood was a great experience.'* 

Mars Attacks! ga\e Lisa Marie another 
opportunity in a minor but memorable role — 
this time as a murderous Mar- 
tian with a beehive hairdo , 
and a swing in her step 
'T loved my character." 
she remarks. "I loved 
working on her. She 
was a pretty ph\ sical 
character and it was 
challenging. It let 
me use my experi- 
ence as a dancer. It 
was different and 



new. I didn't know how the Martians moved. 
They were done later with animation. I had to 
create Martian Girl myself and hope she 
worked. It was really the same thing with the 
film. It was made in such an independent- 
film kind of way. The spirit behind Mars 





Arracks! was really exciting. Everybody 
wanted to be in it. We had an amazing cast.'' 
Which is all the more reason why the 
film's poor domestic box office performance 
is still hard to comprehend. Lisa Marie is at a 
loss to explain as well. *T don't know why 
people [in the U.S.] didn't appreciate it, and I 
don't care why." she declares. "If people like 
something, great. If not, I don't dwell on it. 
No one is going to like everything you do. 
If you have that kind of expectation, 
you're just setting yourself up to fail. 
Nobody can like ever\lhing or every- 
body. You just have to get ener- 
gized by the people who like 
what you do." 

Burton's last film, 
Sleepy Hollow, ener- 
gized audiences all 




over. A Hammer film-like horror tale inspired 
by Washington Irs ing's stor>^ of the Headless 
Horseman, the movie featured Lisa Marie as 
the faint-hearted Ichabod Crane's magical 
mother. Although her role was not a speaking 
one, the actress viewed that with inieresi. not 
apprehension. ''1 look at roles w ith no 
dialogue as silent characters from 
silent movies." she says. "It's more 
challenging to not have dialogue than 
it is to have dialogue. You have to 
express yourself in ways other than 
// words. You have to create so much 
more in your inner world, in your spir- 
it. Just working on that character was 
beautiful. Her unconditional love and 
her motherly love was what I w as going for." 

It is pointed out to Lisa Marie that bet- 
ween her pans in Burton's films and her most 
important role of all — as his girl friend of 
nearly a decade — she, more than anyone, can 
comment on how the filmmaker has grown 
and changed over the years. Lisa Marie soaks 
in the idea for a moment before responding. 
**Ever>' film is different," she notes. "Every 
film is a different experience. You go through 
cycles as an artist. All artists struggle. It's a 





Playing Vampira 
in Ed Wood was 
a challenge for 
Lisa Marie, who 
spent time with 

the real TV 
hostess Maila 
Nurmi to do the 
part justice. 




ihiii guyi; jVDuJd 





fight even' day. I get to see things that no one 
else sees or knows about. I could actually 
write a book about it. 

"It's very interesting and very deep and 
wtry involved, and I care so much about Tim 
as a human being that sometimes it's painful 
to watch what goes on. Bui he amazes me 
because he's so resilient. His energy is 
incredible. The energy it takes to do what he 
does — it's a miracle that anyone can direct. 
To be in charge of so many people, to have 
that much responsibilify. it's unbelievable. I 
don't know if he has gotten more relaxed 
over the years, but he is different. I'm just 
glad I've been there with him. I'm very fortu- 
nate to have him in my life. He's amazing." 

Those around Burton often speak of Lisa 
Marie with the same kind of affection. Some 
of his friends think she quite literally saved 
his life. Even those who prefer 
not to get too dramatic about it 
acknowledge that, in many 
ways, she is his muse. "We just 
do things." she says, trying to 
dance around the matter of 
muse-dom. "We take pictures. 
We make films. We do paintings, 
drawings. It's just part of our 
life, part of our existence. It's 
like brushing your teeth or drink- 
ing water. It's w hai we do to live. 

"We don't think about it. It's 
a real natural thing and we keep 
doing it — keep being creative 
together — because we enjoy it 
and enjoy doing it together. I 
think what we collaborate on 
does inspire Tim. inspires char- 
acters and stories and maybe 
films and books. We love to 
experiment and not judge. We 
just do things to take care of thar 
part of ourselves, to create an 
inspiring environment." 

That said, it could be argued 
that Lisa \4arie's status as Bur- 



ton's girl friend and muse hurts her chances 
of finding work with other A-list directors 
who think of her only in connection with 
Burton and his movies. "1 really don't know 
if that's the case and I don't like to think 
about things like that." she says. "The indus- 
try is so brtital and harsh, and there's so much 
negativity. It would be destructive for me to 
think that way. I just keep moving forward 



and doing my thing. If people 
have a problem, it's really not 
my issue. I try to do good 
work in everything I do and 
hopefully that will lead to 
other opportunities." 

Lisa Marie has several 
other projects on the way. She 
co-stars opposite Norman 
Reedus in The Beatniks, an 
independently produced dra- 
matic comedy, and leads the 
cast of Chasing the Dragon. 
another indie feature. 

"To carry a movie, to be 
the lead, it w as so fulfilling," 
tlie actress raves. "You get to 
explore your whole character. 
You're on the set for a while. 
You get to grow comfortable. 
On some of m>' other movies, 
especially the ones in which 
I've had small roles, just when 
I'm getting comfortable and 
am really ready to go, it's 
over. I play a heroin addict in 
Chasing the Dragon. They're 
trying to get the film released. 
People who see it, though, 
are responding to my per- 
formance. They've never 
seen me like that before. I 
wish one of my independent 
films would get noticed, but 
I'm just going to keep doing 
them. They've been tremen- 
dous experiences." 

Asked to consider the future and what her 
life, in a perfect world, would be like. Lisa 
Marie responds: "In a perfect world. I would 
be doing theater. I would be making films, 
big films and independent films. I would be 
directing. I would be taking pictures. I would 
be dancing and making music. .And I would 
still be in love." 




/ 



\ 




Sleepy Hollow put Lisa 
Marie in an iron maiden— 
and her third film directed 
by beau Tim Burton. 




30 SlXm^OQ/Septemher 2001 



wwM'.starlog.com 




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Contemplating his gorilla role 




For me." says Cary-Hiroyuki Tagawa. -'everyilimg is a 
challenge. I was raised in the military and w ith martial 
arts. Beuveen those, everything's a challenge— and for 
this movie, the challenge is to make having this make- 
up applied fun. Four hours is a considerable 
amount of time, but I take five-hour flights to ^ 
Hawaii, so sitting is not a big deal.'" \ 

At the moment. Tagawa is standing on the Ape 
City set of Tim Bunon's Plcmer of the Apes. The huge, 
complex construction includes rooms and other areas off 
to the side, which are linked to the big courtyard below 
Tagawa is standing outside a row of cages where, in the 
film, humans are incarcerated. For the time being, he's just 
himself, and not in gorilla makeup for his role as Krull 
protector of Helena.Bonham Carter's Ari. 

"Krtill is a servant in the household of Ari. who is on the 
side of the humans and wants to know more about them. My 
role in serv ing her and uhimately going off on the adventure 
with the humans is not my choice." the towering actor 
explains. "I'm simply there because of my love for her. I'm 
her guardian — I feel like she's my daughter. 

•The complication is that I am the only silverback gorilla 
who's a household ser\ ant. I was in the arm>- before and had 
a conflict with Thade [the chimpanzee leader played by Tim 
Rothl. He was going to have me killed, but I'm allowed to live 
in the Senator's household under the conditions that 1 become 
a servant and never have anything to do with the army again."" 
Tasawa admits that he had to psych himself up into 
thinking that, as Ki-ull, he weighed 600 pounds and was eight 
feet tall ''Having always been in threatening kinds of movies, 
and having that physical thing. I understand these gorillas." he 
laughs. 

"••Wc \\ ore the makeup about four times before we actually 
started shooting, uhich wasn't enough. When we started, we 
had to jump into it real quick. 1 would do things like run 
around the set al full speed between takes, and people would 
ha\ e to get out of the way. When we were on the jungle set, I 
w ould w^ait in a tree for Tim Burton and jump on him. Other 
limes I would pick him up and carry him around the set. 
Those kind of things kept me in [the ape] psyche." No doubt 
they kept Burton on his toes. too. 

'••Burton is certainly actor-friendly." Tagawa adds. "In fact. 
I would sa> he's too actor-friendly, in that he's just one of 
those great guys — outside of being a director — so at times he 
lets actors take too much time. It's very easy to see that he had 
a great childhood with cartoons and animation. Eveiything 
was so exciting to him. He's so passionate, and you find so 
few real ptisslonate people. You have that hokey-doke\ 
Method actor kind of passion, you know, but that's a bullshit 




32 STARLOG/Septemher 200 J 




kind of passion. It's not a group effort, ifs 
'My Movie. My Scene. M> Lines.* All you 
can do is try to balance your performance 
with what the other actors are doing. But Tim 
is true passion." 

Tagawa delighted in the opportunity to be 
an ape. but it did cause some problems during 
the film's looping sessions. "They were the 
only looping sessions that Fve ever been to 
where I coiildn '/ watch my face." he recounts. 
"Fve never had that problem before, but I got 
hv pnotized looking at my face. Ultimately. I 
had to stop watching. I had to listen for the 
beeps and time it from there and hope that it 
worked. It was the hardest looping I've ever 
done." 

Last Eunuch 

Tagawa was born in Japan, but as an 
American citizen. His father, a Hawaiian 
native, was in the U.S. militar\' at the time, 
and returned to the U.S. a few years later. 
Tagawa's family mo\ed around the country 
often, mostly in the South, and he became 
attracted to acting while still in elementary 
school. "Tt was kind of unusual, and not 
stereotypically Asian. 1 always 
stepped forward when they asked 
for volunteers for plays and things. I 
really got into acting in high school. 
I played King Arthur in Camelot. 
Plato in Rebel Wirlwur a Cause and 
Dr. Van Helsing in Dmciila. I reall\ 
pushed myself to be in this business. 

"When I left high school, my 
mother's advice w as that the roles 
for Asians in Hollywood were 
stereotyped, so please wait. The 
other ad\ ice came from an acting 
coach who said that the worst thing 
you can do is to go to college and 
study drama with a bunch of kids 
who think they know what life is 
about. He told me to go out and get 
life experiences — which I did. 

*'But he never told me how long, 
so 19 years later....*" laughs Tagawa. 
who went to Japan to find his roots 
and learned that emotionally, he was 

34 STARLOQ/September 2001 



Actor Cary- 
Hiroyuki 
Tagawa now 
has his own 
martial arts 
discipline: 
chuu-shln. 



His training 
furnished the 
foundation 
for his role 
as Krull in 
Planet of the 
Apes. 




Tagawa 's 

dream part is 

to play the 

legendary 

conqueror 

Genghis 

Khan. 



much more American than Japanese. "At the 
time I went to Japan." says the 50-year-old 
actor. "I \\ as really ted up wuth the Vietnam 
War and all the stuff we had been through in 
the '60s. By the time the "70s came around. I 
was just tired of America. So I went to Japan 
thinking that was going to be my sort of 
'saving' spot. 

"It was great to be in a place where, when 
they had the roll call, my name was the same 
as everybody else's. It was such a great 
feeling to walk down the street and see all 
these yellow faces. For once in my life. I felt 
the security of being Asian. 

"Then suddenly, it dawned on me: If my 
name is the same as everybody else's, if I 



look like everybody else, that means I'm 
anonymous. I'm no longer different. I felt I 
had lost my sense of individuality, and that's 
when I realized how American I really am." 

He returned to the U.S.. principally 
Southern California, where his father had 
retired after his military career. "After a 
myriad of jobs ranging from things like 
import-export to photojournalism to driving a 
pizza truck for the Mafia. I finally got into it 
with Big Trouble in Little China, my first 
acting job. I was an e.xtra — my first and only 
job as an extra — in the fighting scenes. It was 
a masked army kind of thing — the good guys 
beat us up." 

In 1986. the same year as Big Trouble, 
Tagawa had his first credited role in Armed 
Response, starring David Carradine and 
directed by Fred Olen Ray. He then stepped 
directly from that low-budget American 
action Hick into the Academy .^ward-winning 
The J.asi Emperor, directed by Bernardo 
Bertolucci. 

"I was the Emperor's last eunuch."" 
Tagawa says, "so I knew I couldn't get 
typecast there." In order to play the role of the 




Weighing in at an 
impressive 600 
pounds and 
looming eight feet 
tall, Krull is 
actually a big 
softie when it 
comes to serving 
Ari (Helena 
Bpnham Carter). 



Emperor's emasculated servant. Tagawa 
jokes that he walked with his legs together. 
*There was actually one living eunuch in 
China who came to the set. He was from that 
period, and a \ er>\ very old gentleman. So I 
got to speak to him.. If you think of China ai 
the time of thai story, when one out of two 
people on Earth was Chinese, everyone was 
competing for a position to survive. But 
eunuchs giving up their private parts in order 
to sun ive. that's quite a drastic step to take to 
make a living." 

space Ranger 

In 1987. Tagawa appeared in "Encounter 
at Farpoint," the Star Trek: The Next 
Generation premiere. 'T was the Mandarin 
Bailiff in the courtroom scene with Q." he 
says. "I had about three lines, and I knew I 
was becoming a part of histor\- doing this 
show, so I was very ner\ ous about saying my 
three lines correctly. It was a great 
experience, and 1 know there's a Mandarin 
Bailiff card in the Star Trek card game." 

Over the years. Tagawa has appeared in 
several SF TV series, including Babylon 5 
("Convictions"), which he did largely as a 
favor for casting director Fern Champion, 
who had cast him in Mortal Komhat. He was 
also in "Emancipation." an episode of 
Stargate SG-1 . "Generally, Asian men have 
this real macho kind of thing," he affirms. 
"I've always had it kind of naturally. My dad 
was from Hawaii, and we don't take shit. My 
dream pet project is to do Genghis Khan, and 
that show was one of the few times I got to 
approach Genghis Khan's character." 

His best-known SF TV exposure, though, 
came through the short-lived CBS series 
Space Rangers, in which he had a regular 
role. 'T played Zylyn. who was from a planet 
of warriors and had to wear a collar to control 
his temper." Tagawa recalls. "I really loved 
that character. It goes back to the Genghis 
Khan side of myself, though I guess all of us 
have that primal nature. \Mierever man lives 
with nature long enough, where there are no 
lawyers, no unnatural law — it's all about your 
word and vour instinct. Zvlvn was from that 




The actor s 
first makeup 
ordeal arose 
on the short- 
lived TV 
show Space 
Rangers. 



Portraying 
the vigorous 
villain Shang 
Tsung in 
Mortal Kombat 
taught Tagawa 
to perform 
over the top 
in energetic 
roles. 



kind of planet, so for him to exist [in a world] 
where all this human sort of junk goes on. he 
had to wear this collar." 

Tagawa suspects that television politics 
played a role in the swift cancellation of 
Space Rangers. "It came on at the same time 
as Babylon 5." he says, *'and I believe there 
was something political going on. We had 
support from the fans: we opened at a 17.5 
Iratingl, which is great for that kind of thing. 
We got bad revie\\ s. because the critics tried 
to compare it to Star Trek, but we were 
exactly the opposite. It was done ver\' simply 
and tongue-in-cheek, but Next Generation 
was the measure of the moment. 

''We were moxing toward Zylyn 
connecting with JoJo. Marjorie Monaghan's 
character. At first, we were adversarial, but 
when I got in trouble and she got a little 
v\ eepy. an attraction started to build. It would 
have been an interesting mix to just see the 
two of us together off on an adventure. We 
had so much fun. Everybody was such a 
distinct character. How could you compare 
those guys to Star Trek, where everything was 
so clinically clean? It's ridiculous, with 
poUtics in television as they are. 

"That." he adds, as my first ordeal with 
makeup, not knowing that someday I would 
be pla> ing an ape. But the two hours on Space 




Making 
Vampires 
wasn't a 
pleasant 
experience 
for Tagawa. 
He doesn't 
want to work 
with director 
John 
Carpenter 
again. 



Range?s were cumbersome at the time, with 
another hour to take it off. I diought that was 
massive until I got to Apes'' 

Evil Sorcerer 

While Space Rangers still has its fans, 
Tagawa is generally recognized for his parts 
in Rising Sun. Mortal Kombat and the Disney 
TV movie Johnny Tsunami, in which he 
played a surfing grandfather. Mortal Kombat 
presented a new kind of challenge for the 
actor, although as was the case often in his 
early career, Tagawa played a villain. 

"In approaching Shang Tsung. I knew that 
I had to pull out all the plugs and really take 
it over the top." he says. "The worst thing that 
can happen in an effects movie is to have an 
actor who can't put out the energy required. 
You're reading the script and there's a line: 
'Fatality.' How do you say 'fatality' with 
commitment? How do you say 'Flawless 
victor}' I' and really savor the taste of blood in 
your mouth? Ack! There is no w ay to do that 
straight. I just had to blow it out." 



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During shooting. Tagawa 'Ju.st went nuts 
over my 'Your soul is mine" line. But this 
guy kept running off the set [every time I 
said it]. I thought he had an emergency or 
something. We rehearsed it over and over, 
and every time, the same guy went running 
away. Then someone said to me, 'You 
scared him. In Thailand, they're very 
superstitious.* *" 

Then there's ^c^/?;? Carpenier's Vampires. 
"Jeez." Tagawa sighs, "what a waste of 
time! And that was a favor, too." He pauses 
a moment, then decides to go on. "I'm going 
to say this, and I don't mind it being printed: 
I doii'i want to work with John Carpenter 
again. I've never worked with anyone w ho 
seemed so disinterested in being a director, 
and for some reason he had it out for me. 
The role I played, any stuntman could have 
done, but I was thinking as an actor, and 
there's nothing worse for an actor than to 
come to a set when you're not working. You 
want to get into the game, coach, that kind 
of thing. And that's how it felt being on that 
mo\ ie," he laughs. "I felt like. T want to do 
something! I want to do something!' Every 
time I came up with a suggestion, it was 
like. *You w ant to be in this movie, shut up.' 
It was not enjoyable." 

He did like making the James Bond 
film Licence to Kill. "That was one of 
those great, honored-to-be-part-of-history 
things." He also enjoyed working on The 
Phantom in Australia for director Simon 
Wincer. where he again approached 
Genghis Khan and had a memorable fight 
scene. "Being on a shipwreck was one of the 
strangest em ironments to do a fight scene — 
e\-erything was slanted. It was a little quirky 
trying to keep your balance. That was 
something I helped choreograph." 

Martial Artist 

Tagaw^a has trained in karate for years. "I 
studied six hours a day in Tok^o with one of 
the students of the shotokan karate founder. 
We practiced two hours, three times a day. 
so I got a real sense of what it was about. 
They were grooming us to sort of be in the 
•arm\ * so w e could go out and represent the 
style. There's a part of me genetically, my 
DNA being Japanese, where clearly we [as 
a people] have veiy militaristic genes. I had 
that potential, especially being reared in the 
military. It took the My Lai incident in 
Vietnam to turn me off from going to West 
Poi nt. 1 n stead. 1 chose to get into the internal 
parts of martial arts." 

He studied metaphysics, sports me- 



Dueling The 
Phantom was 
fun. As the 
Pirate King, 
Tagawa tried 
I to protect his 
[ hidden city 
from visiting 
heroes. 



dicine. even some aspects of religion, and 
founded his own discipline: chuu-shin. 
"Chuu-shin means center. People talk about 
centering, and New Age talks about the 
center frame of mind and things like that. 
Well, I developed this system that's very 
practical and simple. It uses a six-foot staff 
to develop the body in a way so that your 
center, that frame of mind, can be there. The 
system helps you find your relationship to 
gra\'ity. If you can line up your musculature 
and spine to be in line with gravity, it 
releases tension in the body. 

"Part of it comes from martial arts, 
w here we stand on the inside of our feet and 
pigeon-toed, which creates a natural 
balance." Tagawa explains. "That's where it 
begins, and the system works its way up 
through the whole body. As you walk, you 
stand in line with gravity: the tension that is 
in the body moves effortlessly. We're four- 
pointed animals that stood up: we should 
have stayed down. We went from two to 
four w ithout ever exploring the third point, 
and the third point is the staff." 

In addition to Planet of The Apes. Tagawa 
appeared in another big 2001 film. Pearl 
Harbor, in which he played Commander 
Minoru Genda, who led the aerial attack on 
Pearl Harbor. "There are some war projects 
[I've looked at], but after what I went 
through with Pearl Harbor. I'm not 
interested in talking about the war anymore. 
I want to stay home a little more. Planet of 
the Apes kept me aw ay from my family and 
Kauai for eight months. I'm looking into an 
Internet company that I want to hook up 
with and maybe represent. I think the 
Internet is a tool that will help me balance 
my career with my teaching, rather than 
waiting for my phone to ring. 1 iv/// looking 
for a futuristic samurai kind of character 
who has to learn Western lessons through 
Eastern means. 

"There are limitations to being an Asian- 
American actor in Hollywood." Cary- 
Hiroyuki Tagawa admits, "but I'm the kind 
of guy who, if you tell me there's one 
chance in a million. I'll raise my hand and 
sa> . "I" II take that." If you tell me there's zero 
in a million. I'll say. 'I'll make the one and 
I'll take that.' The one thing we have any 
control or power over is our perception, and 
my perception has always been geared to a 
very Japanese viewpoint — that we can do 
w hatever we want. Perspective is the only 
thing. If we change our pcrspeciix e. we can 
attack the problem from another angle. Just 
keep going until \ ou win." ^ 



www.starlog.com 




JxxdLG Law 
dances to 
the music of 
a IVIecha 
man. 

ARTIFICIAL 




I think AJ. says that you must be 
responsible for the things you create, 
that you must learn to love something 
that wants love, that is made to love and that 
loves you," Jude Law explains. "In a way, 
that's part of a bigger message: that we need 
to love each other.** 

Law knows of what he speaks, as the 
British actor co-stars in A.I. Artificial 
Intelligence as Gigolo Joe, the love "Mecha" 
that joins robo-boy David (Haley Joel 
Osment) on his quest to become human and 
thus regain the affections of his mother 
(Frances O* Connor), who left him in the 
woods when her real son recovered from a 
devastating illness. 

Mecha Man 

The wSF saga is based on the Brian Aldiss 
short story "Supertoys Last All ^Summer 
Long" and was written and directed by 
science-fiction maestro Steven Spielberg 
(STARLOG #288). Spielberg agreed to 
tackle the project following the death of his 
friend, legendary filmmaker Stanley {2001: A 
Space Odyssey) Kubrick — who had spent 
more than a decade developing it. This left 
Spielberg with substantial material at his 
disposal, including Kubrick's notes, a story 
outline, storyboards and countless sketches 
by conceptual artist Chris Baker (better 
known as Fangom). The resulting film has 
engendered great debate among moviegoers 
and critics: Is A.L a Kubrick film envisioned 
through Spielberg's eyes or a Spielberg film 
inspired by Kubrick's vision? 

**I think that A./, was always going to be a 
Steven Spielberg film. It was a Spielberg film 

38 STkKLOQ/Septemher 2001 



By IAN SPELLING 



given to Steven by Stanley." comments Law. 
who's no stranger to genre work, having also 
starred in Gattaca, The Wisdom of Crocodiles 
and eXistenZ (which Law discussed in 
STARLOG #264). *That was the most 
interesting point about the film prior to its 
making. Stanley decided nearly 10 years ago 



that Steven, his friend, was the man who 
should make this tllm. Steven fought it 
because it was coming from Stanley, whom 
he admired so much and whom he thought 
should make the film. Bui Steven felt he 
wanted to pick up the gauntlet when Stan- 
ley died. 





Working with Haley 
Joel Osment in A.L "was 
f pure, simple joy" 
notes Law. "His natural 
ability to measure his 
performance is kind of 
extraordinary" 



I Photos; Copyright 2001 Warner Bros. Pictures & DreamWorks Pictures 



"When you listen to people who knew 
Stanley, like Jan Harlan [Kubrick's brother- 
in-law. executive producer of some of his 
films], they sa\' that Stanley saw^ something in 
the material that he felt maybe he cuiildnl 
bring [to the screen]. If you look at Stanley's 
films. the\ were all R-rated. A.L needed to be 
introduced to the world of 
childhood, to the world of 
fairy tale, which Steven 
does so well. Equally, 
though, when you see the 
film, you realize that it has a 
darker side that perhaps 
StanleN wanted to bring out 
of Ste\ en. So I never sensed that Steven was 
directing a film in the Kubrick genre — it was 
more that Steven had Stanley in his heart 
rather than in his head." 

As portrayed by Law. Gigolo Joe might be 
best described as a musically inclined, 
robotic Fred Astaire. The character is prone to 
dance at any moment and, with the click of 
his head, can play sexy mood music. And 
though death ominously looms for him. 
particularly during the film's haiTow ing Flesh 
Fair sequence — in which humans cheer as 



Mechas are blown to bits and doused in 
acid — Joe barely betrays any fear. 

"What you saw is pretty much what I was 
shooting for." notes Law. whose other credits 
include Midnight in the Garden of Good and 
Evil, Wilde. Enemy at the Gates and his star- 
making. Oscar-nominated turn as the suave 

*'He J3elie\ es that he is the 
OTcatest lov en the i^reatest 



gigolo in the world. 

playboy who attracts the attention of Matt 
Damon in The Talented Mr. Ripley. "We 
worked quite hard. Steven and L on tr\'ing to 
create something that physically expressed as 
much as possible about Joe and ihis world in 
which he exists. The energy of his physicality 
is meant lo counter any perception that 
Mechas should be clunky, awkward and 
robotic, rather than fluid, graceful or any of 
the things that a group of advanced engineers 
could program into an entity. But the 
physicality couldn't be too spontaneous. 



"We developed mannerisms that, in a way, 
showed that. yes. he could be fluid and 
graceful, but that he was still artificial and not 
organic. Gigolo Joe also had to be a very 
positive character, sery up, because he's a 
Mecha who's supposed to be \ eiy happy with 
his lot in life. He believes that he is the 
greatest lover, the greatest 
gigolo in the world." 

Law spends nearly every 
minute of his screen time in 
A.L acting opposite Osment 
or Teddy, David's beloved 
talking and thinking teddy 
bear. Osment is the im- 
pressive child actor who wowed audiences in 
Forresi Gump (he was Tom Hanks' son). The 
Sixth Sense and Fay It Forward. Teddy 
(voiced by Jack Angel of Toy Stoiy 2 and The 
Iron Giant) is a combination of Stan Winston- 
created animatronic puppetry and Industrial 
Light & Magic CG wizardry. Law speaks 
highly of both his co-stars. "Working with 
Haley was pure, simple joy." he raves. "It w as 
a joy to watch an actor who w as so in control 
and had such command of his talent, w ho w as 
so positive and enthusiastic. He w as great fun 



www.starlog.com 



STARLOG/September 2001 39 



off the set. too. His natural ability to measure 
his performance is kind of extraordinary. And 
Teddy is real. There was a puppet there the 
whole lime. You just have to look at it as real. 
He was a better actor than some people Fve 
known." 

A J. is arguably the largest film Law has 
done. Never was that more clear then when 
the actor stood on the sets comprising Rouge 
City and the Moon Gondola. However, it was 
a different A./, location that made the greatest 
impression on Law. "The set w hich gave me 
the biggest emotional impact was actually the 
woodlands.'" he says, referring to the forest in 
which much of the film's second act unfolds. 
"It's not played up too much in the film, but 
there is an environmental issue. It's a given 
that the ice caps are melting. We will lose lots 
and lots of land in the next 50 years. The 
environment is so evidently changing. The 
climate around the world is changing. And 
the woodlands in the film are this strange 
mixture of swamp, tangled roots and 
overgrown tropical forest. It was bizarre and 
beautiful and phenomenally lit." 

Science Fictioneer 

A.I. is far from Law's first SF experience. 
He co-starred opposite Ethan Hawke and 
Uma Thurman in the Andrew Niccol film 





usicaily-inclined 
w joins robo-boy 
to become human. 




Gattaca. pla\ ing Jerome Eugene Morrow, a 
crippled but genetically perfect man whose 
identity Hawke assumes so that he can realize 
his dream of blasting into space. David 
Cronenberg's eXistenZc'dsi Law as Ted Pikul. 
a securit) agent convinced by famed game 
designer Allegra Geller (Jennifer Jason 
Leigh) to join her in the 
ultimate virtual reality game. 
And in The Wisdom of 
Crocodiles, director Po-Chih 
(Night Visions) Leong's cult- 
favorite vampire feature. Law 
was Steven, a vampire who 
meets his match in Elina 
Lowensohn. 

"I'm probably fondest of 
Gattaca. and now A./.." Law 
acknowledses. ''Gattaca was 



one of the first films I ever made and one of 
my fondest memories. It's also one of the 
films I'm most proud of When I read the 
script. I turned the last page and started 
reading it again from the beginning. That was 
the only time I've done that. Fm immensely 
proud to have been a part of Gattaca. Fm also 
immensely proud of A.I. I think that it's a 
very important film. It's one that asks many 
necessary questions without giving any 
obvious answers. I hope it w ill open the door 
for other filmmakers, for them to be a little 
broader, a little braver and a little more 
willing to question.'' 

Law will next appear in the gangster 
drama The Road to Perdition (based on the 
Max Allan Collins-Richard Piers Rayner 
graphic novel), starring Tom Hanks and Paul 
Newman, with director Sam [American 



The actor has starred in other thought-provoking 
SF films. In Gattaca, the issue was genetic engineering, 
while eX/sfenZ (pictured) grappled with virtual reality. 



''A.I. savs ihal voii must 

be responsible for 
the things yon create." 





The Wisdom of Crocodiles continued Law's trend 
of mixing smaller, stranger films In with 
his better-known, bigger-budgeted projects. 



Despite his SF-heavy 
resume, Law says it's the 
story, not the genre, that 
sells him on which projects 
to shoot. 



Beaut}') Mendes calling the shots. He's also 
hoping to act in films produced by his 
company. Natural Nylon, which he runs with 
actors Jonny Lee (Hackers) Miller, Ewan 
(The Phantom Menace) McGregor and Sadie 
(Bram Stoker's Dracula) Frost. McGregor 
w^as once Law's roommate and Frost is Law's 
wife and the mother of his children. 

The actor won't rule out doing future SF 
projects, but he's not on the lookout for one. 
either. "I don't particularly favor SF over any 
other kind of film." Jude Law stresses. "If 
anything, 1 don't really think of films as being 
of a genre. I think a story is either a well-told 
story or a badly told stoiy Some of the better 
scripts I've read recently happened to be in 
the SF vein. The SF films I've done just 
happened to have great characters, different 
characters. They dealt with issues that I 
believe are contentious and important and 
epic, and they were all about ideas that should 
be raised and questioned." 



40 STARLOG/S^pr^w^^r 2001 



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In Steven 
Spielberg's 
fairy tale, 
Haley Joel 
Osment 
wonders what 
it's like 
to be a 
real boy. 



A L M 

earing up to meet director Steven Spielberg for the first 
^ time, Haley Joel Osmcnt was both nervous and excited. 
*'At that point, I didn't know I would be working with 
him." says Osment. the Oscar-nominated young star of 
The Sixth Sense. Forrest Gump and Pay It Forw arcL 
whom Spielberg ultimately tapped to play the pivotal 
role in A.I. Aitificial Intelligence. ''It was just a casual 
meeting. The nervousness went away after the first time we met. 
just because of the great person he is. Working with Steven was 
really fun and there w-as so much to learn."* 

A.I. casts Osment as David, a Mecha — a mechanical being — 
that has been built to love. David adores his Mom (Frances O'Con- 
nor), but she ultimately rejects him, prompting David to seek the 
help of the Blue Fair\-. whom he believes can transform him into a 
real human so he can convince his Mom to love him back. Along 
the way. Da\ id — accompanied by a happy-go-lucky love Mecha 
named Gigolo Joe (Jude Law) and a wise teddy bear named 
Teddy — passes through the raucous Rouge City, gets terrified at a 
Flesh Fair (where humans have a good old time torturing, mutilat- 
ing and pouring acid on helpless Mechas) and visits a submerged 
New York City. 

"David never makes the jump to acting completely human, but 
he does progress." the 13-year-old Osment explains. "It's very 
gradual. There are a couple of scenes that probably best represent 
the biggest individual leaps in his character, the ones that make 
him more human. There's the imprint scene, for example [in which 
his mother reads aloud the w ords that turn him from a normal robot 
into a loving son Mecha]. and the scene when David's Mom leaves 
him in the forest, where he's suddenly feeling a new emotion. He 
couldn't just cr\'. though. It had to be a middle-ground between a 
human and a robotic cr>'." 

Osment spends much of his screen time with Law and Teddy. 
Teddy is the result of a collaboration between Stan Winston and 
ILM, while Law, the collaboration of human parents, is the charis- 
matic star of The Talented Mr. Ripley (page 40). Osment speaks 



By IAN SPELLING 





Welcome to the family! David 
(Haley Joel Osment) is the Mecha boy brought 
home by human parents Henry and Monic 
(Sam Robards, Frances O^Connor). 



highly of both castmates. '"Jude is just great to be around." he 
enthuses. **He had a good auitude on the set. He was always glad to 
be there. You never had a bad moment w ith Jude. He was always 
prepared. He was like Gigolo Joe in that he w as always just up and 



Working on A.L Artificial Intelligence with director 
Steven Spielberg was not only fun for Osment, but an 
education as well. 

happy. Teddy was great to work with, too. That w as something 1 
had never done before, acting w ith something that was there, but 
wasn't real. It was like having an actual actor to play off of, even 
though it was a little, two-foot-tall bear. It was funny working with 
Teddy because he had the same problems real actors have: His 
expressions had to work and he had to hit his marks." 

Despite the presence of Law and Teddy, not to mention William 
Hurt (as the scientist who leads the team that creates David), Sam 
Robards (who plays David's father) and O'Connor, 
A.L truly belongs to Osment. The film rests mostly 
on his shoulders. Osment. however, argues that is 
not quite the case and, accordingly, he chose not to 
pressure himself with that responsibility. 'There 
wasn't too much pressure," he insists. "Ex ery char- 
acter in ever>' film is important to the story. This 
wasn't too nerve-w racking. I just did my best with 
my performance. I concentrated on that and wasn't 
too anxious, especially because of the attitude on 
the set. It was fun, and there wasn't much pressure 
involved." 

Osment hopes that .4./. provokes continued 
thought and discussion about artificial intelligence, 
about the pros and cons of developing such entities 
and the impact they might have on society. Does the 
young actor think he will ever have dinner with a 
real Mecha? "T'll probably never see one become as 
advanced as the Mechas in A.L. but there's a high 
possibility it will happen after we're gone." says 
Haley Joel Osment. who will next turn up in the drama Edges of the 
Lord with Willem Dafoe and will also provide voices for The 
Cowwy Bears and the animated Jungle Book 11. '"So the next gen- 
eration has to be prepared to deal with it." ^ 



HUMAN 



www.starlog.com 



^lARLOG/September 2001 43 





The Official IWsngazin 

The Ofhcial STAR TREK Ma^^^H^M^H^^ of exclusive inter- 
views, detailed episode synopse^^ffiSHKbe-scenes photos plus art and 
blueprints! Selected issues also include i^ectacular fold-out posters. 

Some issues are in short supply! Ordei^now while suppUes last! 



STAR TREK: VOYAGER 



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STAR TREK: 

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DEER SPACE 

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from "Distant Voices" to 
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By PAT JANKIEWICZ 

The ''buddy cop" action comedy is one of Holl\ \vood's most tried-and-tnie for- 
mulas. You know it by heart: two cops, one a devil-may-care maverick who 
breaks every rule, the other a repressed, by-the-book stiff, are forced to team up 
to catch a bad guy. Despite their initial hostility, they eventually bond, with the mav- 
erick growing more sensitive and mature and the repressed cop loosening up and turn- 
ing into an uninhibited, carefree psycho like his partner. 

Since 48 HRS. and Lethal Weapon, audiences have seen innumerable variations on 
this age-old formula — Alien Nation, Who Framed Roger Rabbit, Dead Heat. Now 
Osmosis Jones is flipping the format once again — in an animated way. 

A big-budget Hollywood cartoon/live-action film with an all-star cast. Osmosis 
Jones is the stor>' of a rebel lawman out to nail a psychotic criminal terrorizing the city. 
Of course, the cop is teamed up with an inexperienced rookie, but. refreshingly this 
time, the rebel cop is a white blood cell, the criminal is a virus and the new guy, a cold 



46 STARLOG/September 200] 



Casting Chris Rock as Osmosis Jones may seem like a conventional choice, but this rebel cop 



-ipsule. And they're all battling ii out within the body of an ailing Bill 
^lurray. 

Osmosis Jones starts out in live action, with Murray as a zookeeper 
-■■ no catches a monkey eating his lunch. Stubbornly, he fights the monkey 
■ ?T it and ends up victoriously eating a hard-boiled egg dripping with simi- 



catch a cold, toon up 
Fantastic Voyage through 
Bill Murray's body. 



an saliva. This bad-taste move puts a virus crime lord on the loose in his 
body, and only edgy white blood cell Osmosis Jones and "Drix." a snotty, 
straight- laced cold tablet, can stop him. He's the disease. They're die cure. 

Pain Relievers 

The animation co-directors of Osmosis Jones would make a great 
"buddy cop" movie in their own right — a mesh of sensibilities from two 
different worlds: Tom Sito. an American animator with a skewed view 
who is quick with a quip, and the ver\' tall. Dutch-bom Pict Kroon, who is 
quite the opposite and extremely earnest. As to how to go about pronounc- 
ing his first name, the animator urges readers to "Just say 'Pete* quickly!" 

Long-haired and likable, Sito is a gregarious guy with great stories 
from his time in the animation trenches. Starting out on such TV cartoons 




as Siiperfriends and The 
Godzilla Power Hour, Sito 
worked his way up to top- 
flight features like The Little 
Mermaid. Beauty and the 
Beast, The Lion King (for 
which he shares stor>' credit), 
Shrek and more. He's also an 
animation union leader. 

Kroon made acclaimed 
animated shons in his native 
Holland before moving to the 
U.S. Here, he worked on An 
American Tale: Fievel Goes 

West and served as a stoiyboard artist on The Iron Giant. 
co-directing debut on Osmosis Jones. 

"The entire movie takes place inside Bill Murray," Sito says. "It's a 
spoof of cop action movies. Osmosis Jones is the roughest, toughest, most 
incorruptible cop on the police force. Chris Rock plays Osmosis, who is 
part of the Immunity system — he's on the Tmmunity Squad.' Bill plays 
Frank, so the entire inside of his body is called the 'City of Frank.' His 
liver is a chemical plant, his brain is an oftlce building, his heart, a pump 
and his arteries and veins are freew^ays." 

"Basically, Osmosis has to team up with his complete opposite, a cold 
pill." notes Kroon. 'They pair up to track down a really bad virus before it 



Co-directors Tom Sito (left) and 
Plet Kroon were the equalizing forces 
on Osmosis Jones. Taking a tip 
from the title, they absorbed each 

other's Ideas to create an 
osmotic animated/live-action film. 

He's makins his 




hite blood cell. 



STARLOG/September 2001 47 




kills the entire body. The 
big message of the movie 
is really simple: take good 
care of yourself and wash 
your hands before you eat — 
and don't eat things that come 
from a monkey." 
Only the film's live-action 
sequences were helmed by There's 
Something About Mai-y'^ Farrelly 
Brothers, credited as the movie's direc- 
tors. "Originally, the amount of live 
action in the film was scheduled to be 
about five minutes, just enough to frame 
the story;' Kroon explains. "'But when Peter 
and Bobby Farrelly became involved, they 
worked with the writer [Marc Hyman] and re- 
thought the live-action parts. To give it some 
heart. Bill now has a daughter pushing him to 
take better care of himself There's about 20 min- 
utes of live action in the mo\ ie now. 

'"Outside the body, it's really a small story 
about a father and daughter." he adds. "Inside the 
body, it's a high-stakes action film about the life 
and death of the whole planet. The City of Frank 
is the universe to these blood cells who live in it. 
I'm really proud that our film tries to do something different with tradi- 
tional animation." 

For the City inside the body, the directors literally became "interior" 
designers. "It's stylized, but we didn't want the City to look futuristic," 
Sito says, "because Frank is a 50-something man in bad health and his sys- 
tems are kind of run-down. There was a big argument early on over 
whether Frank should be a teenager, but a teenager's immune system is in 
good shape, so he would be able to fight off a disease without too much 
trouble, whereas an older system battling a serious fever could be life- 
threatening. Inside Frank, the inner city is run-down and neglected. By the 
end. Frank gets the message to live better and practice healthier nutrition." 

When they siaited Osmosis Jones. Sito says he and Kroon "told our 
designers that the film's look should be unique. With our stor>', we had 
Fantastic Voyage on one side and Lethal Weapon on the other, so we had 
to iv\' and find the middle. In movies like Fantastic Voyage and Inner- 
space where people are shmnk to microscopic size, the filmmakers made 
things appear very aquatic-looking. We decided to go for a normal 
cityscape. For the whole movie, we chased the design concept and even- 
tually decided to have gravity in the body. If Osmosis drops his coffee or 




Taking a cue from 

The Iron Giant, 
cold capsule Drix 
(David Hyde 
Pierce) is tiiis 

film's only 
completely 3-D 
character. 



After eating an egg soaked in simian slobber, 
Frank (Bill Murray) finds himself infected with a villainous virus. 

his gun gets knocked out of his hand, it falls down. But there are no real 
vanishing points in the body — there's no up or down — so you can have 
arter>' freeways going straight up. We made gravity as we needed it." 

Bad Medicines 

The veteran cop's new hie partner is "Dri.x." "That's shoit for Drixon- 
al." adds Sito. "His original name was Drixobenzomenafedrine. then we 
broke it down to Drixonal. his patent name. We originally designed the 
cold capsule to be this giant Terminator- like wanior. but people kept say- 
ing, "Oh. that has to be Sylvester Stallone or Arnold Schwarzenegger.' I 
said. 'You know, it would be more fun to play against type and go \s ith a 
little, neurotic voice. So we got David Hyde Pierce. Kclse\ Crammer's 
brother Niles on Frasier. A producer said to me. *Tom. I didn't agree w iih 
your decision at first, but it's genius because David is the whitest white 
man Fve ever met I' " 

"My favorite character is Drix." Kroon admits. "He was designed at 
an upscale university and know s e\ery thing about the human body in the- 
or>\ but he has never been in one. so it's a trip for him to see how it w orks. 
Being in Frank and working with Osmosis. Drix finds there's more to 
Frank's cold and realizes he can do even more than it says on his package. 
If he applies himself he can stop a deadly \ irus and help Osmosis." 

Drix is completely computer-generated in the film, which distinguish- 
es him from the other characters. "The Iron Giant began this process of 
exploring a convergence between 2-D and 3-D animation." cites Sito. 
"The Giant was completely 3-D while all the other characters were two- 
dimensional. Drix is entirely 3-D. but Osmosis is 2-D. All the vehicles 
and big camera moves and backgrounds are digital, but they were done by 
traditional painters who learned how to paint on computer. 

"We went for something a bit stylized." says Sito. "It's a reconcilia- 
tion of organic and urban. We have SF and fantasy elements mixed w ith a 




Forgoing the internal infrastructure of Fantastic Voyage Bir\6 Innerspace. 
the OS/770S/S filmmakers designed a normal cityscape bound by gravity. 



www.starlog.com 





gritty street drama, so 
working it all into a car- 
toon style fun for the artist 
gfl^ was a tall order. Our 
production desig- 
ner Steve Pilcher. 
location designer 
Tony Pulham and all 
our visual design peo- 
W pie did a brilliant job. 

And Piet has a passion 
for design, so he created a 
logic for this world. It's not 
only beautiful to look at, but the 
audience can believe it." 
Of course, heroes are only as good 
as the bad guy they face. So the fomiida- 
ble Laurence {TJie Matrix) Fishburne was 
cast as Thrax. the evil flu virus that enters 
Frank's body. "He's an Academy Award- 
nominated actor, and this was his first ani- 
mated role. He did it between Matrixes!' 
Sito laughs. "Laurence is a nice, funny 
man who took his assignment very 
seriously. He said. 'I am not going to 
give you a cliche villain.* We had 
many discussions with him about 
how to approach his character. 
Thrax is Uke a drug lord out of 
New Jack Cit}\ and Laurence 
based Thrax's speech pattern 
after a director of photogra- 
phy he knows." 

Kroon offers a further 
prescription to the mo- 
vie's villainous virus. 
"Thrax goes through 
the body looking to 
round up germs in 
order to mount a 
massive attack on 
Frank's brain. He 
operates by pass- 
ing himself off as 
a common cold, 
tricking the body 





new inrax 
City. The 
co-directors called 
on Laurence 
Fishburne to suppi 
a sinister edge 
the vicious virus, ne 
wreaks havoc in the 
City of Frank. 



FEVER CONOmONS: 107.4 

Kroon and Sito created guidelines for their characters: 
white blood cells are humanold and simply detailed, while 
viruses and bacteria can be anything but human. 

into thinking he's nothing serious. The first thing he does is create a sore 
throat, and then he wants to cause a dam break in the nose. His original 
plan is to mess up the body's temperature to give it a fever. He uses 
pollen to make the body sneeze so it will carry him to his next victim. 
Osmosis realizes something is going on when no one else does." 

"Thrax is very smooth. We tried to create a different type of villain," 
Sito points out. 'AVe didn't want him to be a 'moustache t\\ irler.' Thrax 
is a little slinkier, sinister and cool. Villains are a lot of work. We used to 
say at Disney that villains are never aware they're doing evil. A villain 
who knows he's a villain is weak. 

"There were many discussions over what the villain should look 
like." Sito continues, "because we didn't want a traditional bad guy who 
looked like he stepped off a Red De\ il paint can. With Thrax. we exper- 
imented with an insect look, but wc kept pulling back because we want- 
ed him to be cool. The working title for the character was Wei Khan, 
because he was the Hong Kong flu. Laurence actually created a Chinese 
accent, but it was so good, he sounded like John Lone! He dropped it 
when we changed the character." 

Designer Drugs 

"In designing the film, we broke the cast of characters into groups," 
Kroon states. "Humanoid characters like the white blood cells have two 
legs, two arms and two eyes. They can squash and stretch themsehes 
into a puddle and reform because they are one-celled. Since they're sim- 
ple organisms, they are stripped of all excess detail— no noses or ears, 
and their clothing is ver\^ basic design. In animation today, so many char- 
acters are weighed down with too much detail. It may be beautiful, but it 
takes away from w hat the animator should really be doing, which is mak- 
ing \his character come alive and act." 



STARLOC/Septemher 2001 49 




Chill, a flu shot stool pigeon who runs chicken pox fights, 
was inspired by Starsky & Hutch's Huggy 
Bear. That's why Antonio Fargas got the role. 

The filmmakers only had one rule: "The bacteria and viruses could look 
like anything except a human being.*" Kroon repons. "Some part of their 
body had tol^e different— either more legs, eyes or arms. In Thrax's case, 
he's equipped with this really scaiy claw that he uses to infect the city. He 
scratches the surface of the skin tissue and it stans to fester and boil." 

In designing Osmosis Jones himself. "We looked at many different 
archetyparaction hero-detective movies like Shaft, and the guys alua\s 
wore leather jackets, so we put Osmosis in a bomber jacket as a Beverly 
Hills Cop kind of thing." says Sito. "Osmosis is a character you haven"t 
seen before in full animation: a hero who is veiy 'street' and does hip-hop 
gestures. Ricardo Curtis, the lead animator on Osmosis, is African-Cana- 
dian, and I don't think there has been a black lead animator on a black lead 
character before." 

Not surprisingly, one of the most beloved cliches in action flicks is the 
corrupt politicians— sleazy politicos who tr>' to keep heroes like Dirty 
Harr\' from cleaning up the streets. Osmosis* world is no exception. "Bill 
Shatner plays one of the brain cells.*' Sito reveals. "He*s the Mayor and we 
modeled him on your typical corrupt city mo\ ie mayor who wants to cover 
up what's going on. 

**We had many metaphysical discussions about Frank's soul. Like, 
if Shatner is the brain, is Shatner really Frank'l And if he is. should 
Bill Murray do the \ oice then? We were inspired by Woody Allen's 
EveryihingYou Always Warned lo Know About Sex (But W^re Afi-aid 
to Ask), where the brain cells are Tony Randall and Burl Reynolds. 
That was a good prototype." 

Kroon believes that "the Mayor may be a bigger villain than Thrax, 
because he doesn't help the cops. He got elected by promising ever\'one 
they were all going to. a chicken wing-eating festival. He doesn't want ^ 
to break his promise, because his re-election is riding on it. The 
Mayor knows what he's doing is wrong, but doesn't want to jeop- 
ardize his job." 

Having Shatner on tap impressed the animators. *T was a Star 
Trek fan as a kid. When you grow up in Europe, these stars are 
names you never really expect to meet, let alone sit across from 
and direct. It's a really big trip to work with a guy like Shatner. 
and he did an amazing job." Kroon grins. "We really tried to get 
a Star Trek ']ok^ in there. We wanted him to say 'Damn it. Bone 
Marrow,' but he wouldn't do it. He was ver>' conscious of not 
wanting to .spoof his Captain Kirk character. For a long time, 
Tom pushed a scene w here Frank would kiss someone at the 
film's end and then we would cut to Shatner as the brain, grab- 
bing his chair like the old Star Trek Bridge scene when the ship 
got hit. We lost that when a character was changed from Frank's 
wife to his daughter. We do have a Matrix spoof Of course, hard- 
ly a movie gets made today without a Matrix pkt in it." 

Flu Shots 

To bring the cast of Osmosis Jones to cartoon life. Kroon notes. "We 
videotaped the actors when they did the voices and gave those tapes to 
our animators. This allowed us to put quirky things the actors did with 
their faces as they said their lines into the character. You can totally see 

i Chris in Osmosis, even though the character doesn't really look like 

I him. Drix. another simple design, has a face that 

: looks like David." 

1 The characters' appearances "were inspired 
t by these very strong actors, but they are not 
\ direct caricatures. It's more of an homage. To 
? many actors, these | animated] gigs aren^t a big 
5 deal. After T}je Lion Kin^. Jeremy Irons said. T 



wouldn't call it one of my career highs.' but I think it is." Sito smiles. 
"Especially after Dungeons Dragonsl Some actors don't take it that seri- 
ouslv, but what I loved about Laurence and David is they really got into the 
chiiracters. to the point where they would argue with you and say. T don't 
think he would say this I' They were intrigued about creating a character 
jusi by using their voice, not their bodies. So we kept it loose, in case they 
wanted to improv dialogue. Chris came up with some great lines. So did 
Da\ id— including one where Drix is about to shoot Thrax. David gave us 
this Schwarzenegger-type line, 'Vims con DiosI" " 

There are also allusions to even more standard action stereotypes. 
"There's always a beautiful city worker who's special assistant to the 
Mayor," he continues. "Brandy Norwood plays Leah, a brain cell who 
works for the Mayor and also is Osmosis' giri friend. Leah has a serious 
career and wishes Jones wouldn't hang out on the street so much and 
instead go get a better job. We modeled her on the Jennifer Jason Leigh 
character in Backdraft: she's an uptown city councilwoman who's in love 
with Osmosis because of his ties to the old neighborhood." 

"I like to think of Leah as Frank's conscience," says Kroon. "She start- 
ed working for the Mayor because she wanted to make a difference, but she 
has become more and more disappointed in the way he runs things. Leah 
finds out that Osmosis is right about Thrax and that Frank's brain has been 
attacked. She takes steps to get Thrax arrested before he can flee, but he 
takes her hostage and Osmosis has to save her as well as his entire worid." 

Another action flick familiarity is "the police sergeant who always 
blows his stack." Sito chuckles. "That guy who says to the hero. 'You're 
killin' me. You're giving me an ulcer. I can't take this:* " Ironically, this 
role in the film is played by mega-producer Joel Silver, who made many of 
the films Osmosis Jones spoofs— including the Lethal Weapon series and 
The Matrix. 

"Joel is funny as Osmosis' boss. In Who Framed Roger Rabbit. I really 
enjoyed him as Raoul J. Raoul [Roger's director, seen at that film's begin- 
ning]. When Joel came in. he said, T'm not really an actor, I don't know if 
"l will be any good in this.' I said. "Joel, just yell at people!' He plays this 
big, ON'erheated police chief and had a great time \\ ith it. He knew the 
character, and the whole movie is an homage to his work." 

Osmosis Jones also brings in another populai* cop movie stock 
character: the stool pigeon. "They alwa\ s have an informer, who 
gives vital information to the cops." Sito laughs. "We have a char- 
^ acter like that. 'Chill.* a flu shot. When Drix sees him on the street, 
he wants to shoot Chill, but Osmosis says. -No. he was a flu \ irus. but 
now he's on our side!" ChiU's mnning a chicken pox fight in an 
alleyway when they bust him for information." 

"Chill was a Huggy Bear-type character, and we tried to 
imagine who to cast." Kroon remembers. "Being Euro- 
. pean. it didn't dawn on me that, here in the United States, 
k you can pick up the phone and call the actual actor who 
F played Huggy Bear! Antonio Fargas did a great job. It's 
a reprise of the character he played on Starsky & Hutch. 
rhill even wears a floppy hat!** 

Directors Piet Kroon and Tom Sito are proud of Osmosis 
Jones. "Nobody has done this in animation before," Sito claims. 
"They do faiiy tales, fantasies and Bible stories, but no one has 
done a goof on modem genre action movies until now. We had 
a lot of freedom to go places with this." 

Of course, one place Osmosis will no longer go is to the testi- 
cles. "We had a scene in Gonads' Gym. with a bunch of guys on 
treadmills going. 'Ooh! Oohl Oohl' In order to keep the PG rating, 
that didn't stay." Sito laughs. "Maybe we can put it back on the 
DVD!" 




What's a corrupt 
politician without 
a sexy, scrupulous 
special assistant? 
Leah (Brandy 
Norwood) is also 
Osmosis' love 
interest, 



50 STARLOG/Septemher 2001 




Who better to ooze political charm as the Mayor than 
William Shatner? Sito pushed hard for a Trek ]oke, but the 
Captain issued orders against it. 

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ohn Carpenter's name means a great many things to 
_B| many people. But if you want to get a laugh out of the 
^kl^ veteran director, tell him his name is the magic bullet 
that guarantees any tllm that sparks his interest will get made. 

"That's really hilarious," roars Carpenter, who is today 
coordinating the music for some pivotal sequences of his latest 
science fiction opus. Ghosts of Mars, "Is the John Carpenter 
name magic? Oh my God! When my name is mentioned, peor 
pie in Hollywood run for cover. The attitude of many people In 
Hollywood is, 'My God! Is he still directing? I thought he was 
gone.' Trust me, everybody gets turned down." 

Carpenter, 53, is in trademark, often self-deprecating 
humor and still quick with the quip— as demonstrated in his 
frequent interviews past with both STARLOG and FANGO- 
RIA. And he's well aware that despite his wide-ranging career 
in SF, fantasy and horror, he is really a Western filmmaker at 
heart. 

"That I keep doing Westerns is a fair assessment," he 
remarks. "Westerns have always been a personal preference. I 
grew up at a time when Westerns were still popular. I've 
always admired the form. But Westerns went out of favor and 
are no longer popular with audiences. They're kind of an odd- 



ity now, with science fiction, beginning with Star Wars, taking 
over. So rather than fight it, I've decided to go ahead and dis- 
guise everything I've done, even though to my way of thinking, 
they've all been Westerns." 
Everything? 

"Well, maybe everything except Halloween,'' chuckles the 
director. "That really wasn't a Western at all." 

But he concedes that Ghosts of Mars is definitely in his 
pseudo- Western tradition. '*^Ghosts of Mars is very much a 
classic Western in science fiction clothing. I see it as being more 
like an old Howard Hawks film. But in Ghosts of Mars, I keep 
uniting the guy in jail with the town sheriff. Hawks would 
never do that. But the basic premise is the same: A group on 
Mars is under siege." 

Fort Mars 

Carpenter claims that his interest in doing a Mars movie 
goes back to the early '80s. lie felt that the spectre of Mars has 
always been a force in human affairs on Earth throughout his- 
tory, spawning numerous myths about the red planet. 

"1 wanted to do something on Mars, but I didn't want to do 
a spacesuit movie. I hate spacesuit movies!" he exclaims. "1 



52 STARLOG/Sepiember 2001 



www.starlog.com 



wanted to do something set in the future where we had qj^.^ 
already colonized the planet and converted it into 
something very Earth-like in atmosphere and tone. I car{ 
felt once we made the leap, we would be in a frontier- plot 
like situation in which we have mining towns connect- ano 
ed by a railroad. I felt Ghosts of Mars would be very i Esc 
much set in an industrial age. It couldn't be hi-tech, it I ^'"^^ 
had to be old-fashioned. So then I started thinking, - 9^^ 
*Well, hell, this could be pretty good because this could 
also be a Western." So I came up with an outlaw-and- 
lawman story, set it on IVIars and off we went." 

Predictably, Carpenter's route to Ghosts of Mars l 
was far from the expected path of mainstream action 
and SF movies. The characters are more mercurial, 
and the situations, while adhering to traditional pre- 
cepts, teem with often cynical and non-PC attitudes ; 
and agendas. "Certainly, it is not a by-the-numbcrs Jjj^^ 
movie," explains the director. "Many SF and action 
movies today prett> much follow a certain path. You know how 
situations are going to turn out and characters always play a 
certain way. Ghosts of Mars is definitely different. This film has 
some similarities to Pitch Black, In tone, there arc many simi- 
larities to Assault on Precinct 13. But, at one point, this actual- 
ly turns into a big battle movie that's much like Zulu. My 
movies are all the same anyway. I never try to do anything 
original," he laughs. 

Typical of his unorthodox approach was casting Natasha 
(Species) Henstridge in the lead, usually male, role of the law on 
Mars (originally to be essayed by Courtney Love). "I thought, 
'Why not?' I hadn't done a movie before in which a tough 
woman was the lead. And I love tough women. I kept thinking 
about the Hawks influence. He always had strong women char- 
acters in his movies, and 1 enjoyed and respected that." 

Casting the remainder of Ghosts of Mars with the likes of 
Ice Cube (see page 56) and Joanna {Blade Runner) Cassidy, 
according to the director, was largely a matter of personal 
preference. "It's always basically the same. My casting process 
has a lot of hit-and-miss to it. Sometimes it's chaos, sometimes 
I get lucky. I had some people in mind from the beginning. Pam 
Grier was one of those. Pam and I have worked together before 
[Escape from I A] and we always have fun. I wanted to use 
Jason Statham the first time I saw him in Lock, Stock and Two 
Smoking Barrels. I liked his style and the fact that he had this 
kind of unique presence." 

Carpenter concedes that " Ghosts of Mars is 
very much a classic Western in science 
fiction clothing." He compares it to the films 
directed by his idol, Howard Hawks. « 



The Ghost ■ 

and the j 

Darkness. • 

Director i 

John i 

Carpenter j 

plots yet I 

another 4 
Escape— this| 

time for Ice | 

Cube, 1 

imprisoned ^ 

on Mars. I 





An equally unique presence is the resurrected Martians, ' 
which are an unsettling cross between Christian fundamental- 
ist images and the rock group KISS. " That's actually a very 
good description of what the Martians look like," chuckles 
Carpenter. "The idea was that the ancient civilization that 
used to be on Mars was very barbaric and primitive. So we 
went in that direction and researched primitive Earth soci- 
eties. One thing I knew was that I didn't want cuddly little 
aliens running around." 

Red Mars 

As for those looking for the nod-and-a-wink that typifies 
many recent big-budget flicks. Carpenter warns that Ghosts of 
Mars will disappoint. "We're playing this pretty straight. 
There are some comcdic characters in it, but most of my 
movies are pretty straightforward, which dooms them some- 
times. Audiences like to see a wink and I don 7 like to do that 
too much. I get hits for that kind of thing all the time. They say, 
'Why are you playing it so straight?' For me, I would say the 
closest I've come to winking at the audience was Big Trouble in 
Little China, but even that wasn't a wink. In that movie, it was 
just us going nuts." 

"Nuts" was not the operative word for Carpenter when 
lensing began out in the middle of a New Mexico desert. The 
director has a different description for the experience. "Every 
day was an 'Oh shit!' day," he explains. "We were shooting in 

the desert, at night and 
^ , ^ middle of the 

JUtjj^ monsoon season. The 

I^^^B ^ local TV weatherman 

3* — was tracking storms for 

J A us. They would call 

^ I ' \ S when a storm was com- 

^ ^ ing in and we would run 

y ^^^ ^ cover. Filmmaking is 

% always the same but, 

with this movie, this was 
a bigger problem. The 
sense was that we were 
taking a bigger hill. We 
fl^k just got through it." 

iW^-^^- Carpenter points to 

the dialogue and charac- 
ter scenes as some of his 
favorites in the film. And 
he acknowledges that 
U the action stuff and gun- 

jjp ? play is never by rote. 

9 more attention. There 
\ were many sequences 
we shot that could be 




il 





After seeing Lock, Stock and Two 
Smoking Barrels, the director 
felt he needed Jason Statham's 
unique presence in this film. ^ 



considered downright dangerous. There was this one sequence 
where w e were driving a vehicle through the center or town. We 
had explosions going off. Kxtras and stunt people were throw- 
ing spears and knives at the vehicle. We had two actors and 1 
w as right behind them with a camera. The window broke and 
spears came in, barely missing us. Plus, we set a guy on fire at 
one point. That's not fun. 1 don't enjoy doing that." 

Even though he shot much bigger in terms of scope on 
Ghosts of Mars, Carpenter still believes the fdm has a confined 
feel to it. ''I like being in trapped places. This film definitely has 
a couple of majestic vistas in it, but I don't think that will both- 
er anybody.'' 

Carpenter candidly admits that Ghosts of Mars tested him 
physically and that his age is starting to show. "People talk 

''I didn't: wvant 
cuddly little aliens 
running around." 



about women's biological 
clocks. Well, directors have 
them, too. The older I get, the 
harder it is to do a big, physical 
picture like this one," he says. 
"My age definitely played into 
the making of this picture. I've 
got a pretty strong constitution 
and I can take a lot, but it's 
hard to get up and go to work. 
I would rather hang out and do 
nothing. That attitude is what 
you fight to overcome every 
time, it's easy when you're 
younger. All you need is caf- 
feine and adrenaline and off 
you go. That doesn't work for 
me now. 1 went through a peri- 
od where 1 was making too 
many movies, and I felt 1 was 
beginning to bum out. I finally 
realized that I had to slow 
down." 

The director has noted the 
inevitable chatter about a 
Ghosts of Mars sequel and he is 
admittedly ambivalent on the 
subject. "People do survive this 
film and it's actually a happy 
ending. But 1 suppose 1 won't 
hear any serious talk until 



With a New 
Mexico desert 
shoot rife with 
storms and 
struggles, 
tough actors 
like Ice Cube 
were needed to 
fill in the roles. 



after the opening weekend. I never 
think in terms of sequels, but I suppose 
you could blow up the world and stili do 
a sequel." 

Beyond Mars 

Turning to matters other than Mars, 
Carpenter recalls how much fun it was 
to get together with Kurt Russell to do 
the commentary for Fox's Big 7 rouble 
in IJttle China DVD. He admits that the 
thought of another Big Trouble adven- 
ture — with Russell swaggering again as 
heroic trucker Jack Burton — has crossed his mind. "It I 
always boils down to the material. I didn't write Big 
Trouble, but if a script came along for another one, I 
would definitely read it. I know Kurt has said he does 



^^Bfc- Following in 

A j^/"--- Hawks' 

WKtj^-^l footsteps, 

^^^■■^Y Ghosts filled 

line of hardy 

i T^K^VW} females. 
\ ! yi^^SW /i Carpenter 
TWBBB# loves tough 

women. ^ 




\ 



not want to do action movies 
anymore. He's getting old, too. 
He doesn't want to break his 
ankles anymore." 

Carpenter also offers the lat- 
est update on the proposed 
Escape from New York TV series. 
"I don't think it's going to hap- 
pen. Kverybody thought it was 
just too dark for television. Kurt 
and I threw our two cents on the 
table and there was a kind of 
presentation, but ultimately the 
Powers That Be felt that it was 
too dark for a television audi- 
ence." 

That Escape from IjK was a 
critical and commercial failure 
was not lost on Carpenter. And 
while he believes 'ihat the film 
turned out fine," it definitely 
could have been better. "That's 
just the way things happen," he 
says. "It was not any one per- 
son's fault. We agreed to make 
the film on a crushing schedule. I 
never really got to look at the 
entire movie until three weeks 
before it was set to open. I never 
really had time to work it over. I 
would definitely consider a third 



54 S^lkRX.OG/Septemher 2001 



www.starlog.com 



By MARC SHAPIRO] 



It's hard to tell your rappers 
apart without a score card. 
Especially when your tirst name 
is Ice. 
"Let's get this straight," 
chuckles Ice Cube, the gangster 
rapper turned actor. "I was not 
in Leprechaun in the Hood, That 
was Ice T. I'm Ice Cube. There's 
no way I would be caught dead in Lep- 
rechaun in the Hood,'*'' 

Ice Cube (a.k.a. O'Shea Jackson) is eas- 
ily the scariest-looking guy around. When 
he's smiling, he still looks like he wants to 
eat your children. But the reality is that 
the actor, now scowling his way through 
the action-packed Ghosts 
of Mars, is thoughtful, 
street-smart and quietly ^^BSCl I 
friendly. . , - 

"Looks can be deceiv- I3S1 11 
ing," says Cube. "I would VaII 
like to think that I'm a lUU 
pretty easygoing guy. Do Qpf Ollf 
I get mad? Sure. Who ^ 
doesn't?" tn6 

Cube is currently flex- 
ing his acting muscles as 
James "Desolation" Williams, a man with 
a rap sheet who becomes an unwilling par- 
ticipant in a battle with the Ghosts of Mars. 
The actor is adamant that his role in direc- 
tor John Carpenter's latest epic Ls far from 
cut and dried. 

"This character is like many guys who 
are on the wrong side of the law," he 
explains. "If you knew him as a friend, he 
would be a friend. But he's also the kind of 
character who has a bad side, an outlaw 
side. He has this big reputation for being a 
hardened criminal. But under certain cir- 
cumstances he can be a good guy, if he sees 
it as a benefit to himself. He's like a badass 
with a heart of gold." 

Much of Cube's take on the character 
stems from Desolation's back story: 
although an Earthling, Desolation was 
born on Mars. "He has studied Earth, he 
has seen all the films and read all the 
books. He knows everything there is to 
know about Earth, but he has never been 
there. That is the hurt inside him, that is 
what has made him bitter. But you defi- 
nitely want him on your side when it comes 



"Bad movies 
last forever. 
You can't 
get away from 
them." 



to having a fistfight — and that is what this 
film basically is, one big fistfight." 

Acting the Action 

Cube — who did more than his share of 
stunts and action in Three Kings and Ana- 
conda — says that the physical require- 
ments for Ghosts of Mars have been 
equally demanding. 

"Just look at these," says Cube, indicat- 
ing various bruises and wounds on his 
arms. "I've gotten my share of scratches 
and cuts. The fight scenes have been tough. 
On screen, the first fight I have takes up 
maybe 40 seconds, but it took hours to 
choreograph and rehearse. It's not as hard 
as it looks, but it takes a 
lot of work." 

riOVi6S ^"^^ ^'^^ worked 

hard at collaborating 
ir6V6r. with Carpenter m an 
*Qll'f effort to elevate Deso- 

#<in I lation Williams beyond 

IV f rnni ^ mere action cliche. 

55 "John's putting me 

HI , through many changes in 

this movie and that's 
good. That's what I need. 
I need a director I can trust and John is a 
director I trust. If he makes a suggestion 
about what I can do to make the role bet- 
ter, I'm gonna listen." 

This willingness to listen has resulted in 
a performance much deeper than the typi- 
cal paper-thin action cipher, and it pleases 
the actor that he is uncovering added 
dimensions to his character. "Going into 
this, audiences will see Ice Cube on the 
poster and think, 'OK, badass with a gun 
and an attitude.' But I'm finding a lot of 
emotion and feeling to this character. And 
I'm happy to see that I'm up to bringing 
this kind of character off in a believable 
way." 

Although he had some experience act- 
ing opposite things that aren't there in the 
killer snake flick Anaconda, nothing could 
have prepared Ice Cube for the CGI and 
assorted special FX sequences in Ghosts of 
Mars, "This is where my imagination real- 
ly came in. Every time I turned around, I 
was playing off something that wasn't 
there. Being convincing in those situations 
is a real challenge." 



But no FX work could compare to the 
difficult time he spent in Brazil working on 
Anaconda, "It was hot, wet and uncom- 
fortable," Cube recalls. "It was hard work 
on a river that was right in the middle of 
the Brazilian jungle. Nothing about that 
film was easy. When people think of Brazil, 
they think of Rio de Janeiro. Well, this shit 
was 3,000 miles away from Rio. There's no 
way I would do Anaconda 2, No way." 

A much more pleasant memory for 
Cube comes from his breakout role in the 
war drama Three Kings, Although he 
admits that the running, jumping and 
gun-toting came rather easily to him, it 
was the pure acting that provided the 
biggest challenges, '^n that film, I had to 
keep myself constantly alert. I was playing 
a difTerent type of character than anything 
I had ever played before. I was concentrat- 
ing on making sure I looked and acted like 
a soldier. I had to put myself in a different 
state of mind. Running around in the 
desert, waving guns around with George 
Clooney and the other guys was the fun 
part." 

Playing It Smart 

Ice Cube was bom and raised in South 
Central Los Angeles. The son of two col- 
lege professors. Cube became enamored of 
the emerging rap music scene and, at age 
16, sold his first rap song, "Boyz N the 
Hood," to rap superstar Easy-E. After a 
stint at the Phoenix Institute of Technolo- 
gy, where he studied architectural drafts- 
manship, he returned to I^ Angeles and 
became a part of the controversial rap 
group Niggers With Attitude. Following a 
dispute with the group's manager. Cube 
left NWA and forged a solo career. 

In the early '90s, the rapper temporar- 
ily put music aside in favor of acting, mak- 
ing his debut in the drama Boyz N the 
Hood, Throughout that decade. Cube 
alternated hit albums with roles in such 
films as Higher Learning, Trespass, The 
Glass Shield, Dangerous Ground, Friday 
and 2000's Next Friday, He also made his 
writing and directing debut with The Play- 
er's Club, 

"Many rappers have made the move 
from music to movies," Cube observes. "I 
don't know why the others have done it. I 



COOL AS 

WHEN THE GHOSTS OP MAES Si.tKYO\J'R 
BI,OOD, THERE'S ONI,Y ONE THING TO DO: 

JUST ADD ICE CUBE. 



56 STARI .OG/SV/7/^'////7^'r 200/ 



www.starlog.com 



only know that going from music to movies \ 
seemed like a natural thing for trie to do." < 
And Cube believes he has been smart | 
about the film choices he has made. "I 've , 
been offered plenty of garbage along tlu- ; 
way," he admits. '"Ghosts of Mars is my 
10th film. If I had picked every script that 

1 came through, I would have been in 25 
movies by now. But most of that stulT • 

wouldn't necessarily have been good, l 
I'm glad that I've done the m(»vics I've ; 
done. I'm proud of Anaconda^ Three 
Kings and Boyz N the Hood, 1 don't 
want to be in Leprechaun 6. 1 don't ; 
want my grandkids bringing the \ 
DVD home and saying, 'Why were ^ 
you in this?' Bad movies last forever. \ 
You can't get away from them. | 
Which is why every movie I've J 
decided to do, at the end of the day 
I've been proud of. I'm playing it ; 
smart/' j 
Cube, who will next be seen as \ 
c the infamous pimp Iceberg Slim in j 
i the biopic Pimp, views hiinseif as ^ 
11 very much a science fiction-fantasy i 
fjin. And working with Carpenter, 1 
whose films C^ube admires, has made \ 
going to Mars that much more of an \ 
enjoyable adventure. "TT/^* log was j 
the first scary movie that I saw in a ] 
theater, and Halloween has always | 
been a fiivorite of mine/' he notes. 
While Ice Cube is reluctant to consider ^ 
Ghosts of Mars a career-making role, he j 
knows it certainly won't hurt. "I would ■ 
hate to say that one movie could be some- ; 
thing that afiects a whole career. I've been j 
doing this for a long time. If this was niy \ 
first movie, than I would have to say,j 
'Yeah, this could be a career-maker.' But \ 
it's not like they're ? 
seeing me as the . 
He S like a g»y from Royz Ni 
■ ^ ■ _ .M.S4U A ^he Hood anymore, i 
badass Wltn a Ghosts of Mars is I 
||fl^|«# definitely a step up. j 

2 }\ I'm just trying tol 
of QOlu/ set myself gearedj 

up to go to the next ^ 
level. In this busi- l 
ness, working with somebody like JohnJ 
Carpenter will definitely be a notch on my| 
belt when I pull out my resume/' 




Ice Cube faces 
the Ghosts of 
Mars as roguish 
hero "Desolation" 
Williams. 



STARLOG/Si'ptemher 2001 




By TOM WEAVER 



FIFTV VEARS AGO. 
WILLIAM SELF F0U6KT THE 

iHiHSfmAHQimmiD. 




cariest scene in a 1950s SF 
movie? Among several woriliy 



S; 
nominees, one sequence does 
stand out as the chilliest: The 
movie is Howard Hawks' The 
Thing from Another World 
( J95J ), the setting is a North Pole govern- 
ment experimental station, and the scene 
features a young Air Force corporal with 
his back to a block of ice in which a newly 
arrived alien visitor is encased. The audi- 
ence — but not the sen iceman — knows that 
the ice is melting, and Dimitri Tiomkin's 



thereniin score turns ultra-ominous as a 
long shadow slowly begins to move up the 
corporal 's back. . . 

The actor menaced by the Thing in this 
unforgettable scene was Dayton, Ohio- 
born William Self here appearing in his 
best film role as Barnes, one of five corps- 
men ( Kenneth Tobey, James Young, Dewey 
Martin and Robert Mchols were the oth- 
ers) engaged in a top-of-ihe-world strug- 
gle for survival with the extraterrestrial 
terror (James Arness). 

Self soon moved up through the Holly- 



wood ?'anks: He started working in TV pro- 
duction the year after The Thing 's release, 
and became the executive vice-president of 
20th Centuiy Fox Television in the 1960s. 
His list of snudl-screen credits includes the 
classics Pe\ton Place. M===A'\S-H <^/2J Bat- 
man as well as the Irwin Allen series Voy- 
age to the Bottom of the Sea Lost in Space 
d7/2iy The Time Tunnel. But for film fans, his 
lasting legacy is as the hapless corporal 
who inadvertently unleashes the Thing 
upon the world. 




Discovering The Thing leads to great trouble for William Self (third from left), the bearded Robert Cornthwaite, 
Kenneth Tobey (third from right) and Paul Frees (far right). Douglas Spencer is in a dark woolen cap at rear left. 



STARLOG: How did you land your first 
movie role? 

WILLIAM SELF: I graduated from the 
University of Chicago in 1943 and worked 
in Chicago at an advertising agency for a 
brief period. Then I decided to tr\' to be an 
actor, and 1 came out here saying I was an 
actor. The first movie 1 got into. Bill Well- 
man shot a test of me and put me in The 
Storx of G.l. Joe [1945] with Robert 
Mitchum and Burgess Meredith. That was 
the besinnins. Then, somewhere alon^ the 



line. I worked for Howard Hawks for the 
first time in Red River [1948]. and evenmal- 
ly I was in four Haw ks pictures — Red River, 
I Was a Male War Bride [1949] and The 
Thing. I w as also in The Big Sky [1952]. but 
I was cut out of that because. Hawks said to 
me, "You know. Bill, w e did the same scene 
in Red River and too many people remember 
it." And that was true. 

S TARLOG: 1 found a book that said you 

taught tennis to Hawks* sons. 

SELF: No. but I did teach tennis around 



Hollywood to quite a few people. Charlie 
Chaplin I played with a great deal. Spencer 
Tracy. Katharine Hepburn. I was one of the 
guys who went to Jack Warner's house on 
Sundays and played with those people. A lot 
of my jobs were a result of tennis, but not 
Red River and not my association with 
Hawks. M\' agent at that time got me a meet- 
ing with Haw ks for Red River. Hawks said 
**Fine'* and I never knew whether I had the 
job or not — I never got a copy of the script, 
weeks went bv, I didn't know w'here I stood. 



58 STARLOG/Septemher 2001 



But eventually they called and said. "OK. 
you can lly to Arizona and start your role in 
Red River." That was the first time I worked 
for Hawks, and he obviously liked me — he 
hired me three more times. I never under- 
stood, honestly, why. but there was a stor>' 
that I believe is true: Someone once asked 
Hawks, in an interview, "Who is your 
favorite actor?" He said, "I don't know. It's 
either Cary Grant or Bill Self." [Laughs] 
Whether that's a true story or not, I don't 
know — / like to believe it. 

And, many years later, a little incident 
happened when he and Paul Helmick were 
casting some new picture. Helmick was his 
assistant director-production manager-clos- 
est ally. In this casting meeting. Hawks said, 
"You know who would be good in this part? 
Bill Self." And Helmick said, "Mr. Hawks, 
he's president of 2()th Centur>- Fox Televi- 
sion." Hawks said. 'T didn't know that!" 
[Laughs] He had obviously lost track of me, 
and didn't know what I was doing. But he 
remembered me. and apparently liked me. 
STARLOG: What was he like to work for? 
What kind of director was he? 
SELF: He was certainly one of the best 
directors I ever worked for. and I worked for 
Wellman. Billy Wilder and Chaplin. But he 
was unique. He was a ver\' reserved person, 
very soft-spoken — he was always ''Mr. 
Hawks" to all of us lowly actors. And he 
would always take a certain amount of time 
to answer your questions. If you asked him 
something, he would think about it, deliber- 
aieh . right in front of you, and then iinally 
give you an answer. He was terrific — I 
enjoyed working with him an aw^ful lot. 
STARLOG: Looking over Hawks" list of 
credits, it seems so unlike him to make a 
monster movie. Any clue what drew him to 
The Thingl 

SELF: I heard that Hawks envisioned it as a 
big-budget picture, and he was going to do it 
with major stars. But RKO wouldn't 
approve the budget, at which point Hawks 
said. "OK. I'll make it with all unknowns. 
And 1 won't put my name on it as direc- 
tor" — because he didn't wanna cut his 
salary or be associated with what was 
looked upon initially as kind of a B- 
movic. I don't know if that's all true. 
STARLOG: In your opinion, would 
The Thing have been better, as good or 
worse with major stars in it? 
SELF: Oh. I think it would have been 
worse. Part of the appeal of the pic- ^ 
ture is that we were almost real peo- 
ple to a lot of audiences. Had Car\' 
Grant been in charge, it wouldn't 
have worked. This was like a whole 
bunch of regular guys and a girl you 
had never seen before, having this 
ad\ enture. It was enhanced by that — 
and by being in black-and-white. The 
remake [John Carpenter's The Thing 
with Kurt Russell. 1982] was in color, 
and I thought it was not nearly as good 
as the original. 

STARLOG: And not just because it was 
in color — it just wasn't a good movie. 




Looking back today, Self 
is most proud nof of his 
acting career, but his 
work as a producer. 

SELF: No. no. In the first 
place, the violence in the 
original Thing was almost 
all off-screen. Close to the 
only violent action was the 
monster at the door [hav- 
ing the door slammed on 
its arm], and the monster 
chasing me down the hall. 
But that really wasn't vio- 
lence, because he never caught me [laughs]. 
None of the original cast was killed in the 
movie. Those people who were killed, you 
didn't even know who they were. It was the 
absence of blood and violence that made the 
picture unique and veiy scary. 
STARLOG: There isn't even a cast list at 
the movie's beginning. 
SELF: None of us got any billing up front. I 
think the whole thing was just designed to 
"sneak up on you" in a way. 
STARLOG: The combination of lengthy 
takes and overlapping dialogue sounds like a 
recipe for disaster. How were the actors able 
to cope? 

SELF: We all were encouraged to overlap 
the dialogue. We had rehearsals before each 
scene, and maybe in some cases we were 
told, "Wait a minute — I don't want it over- 
lapped there." But we were encouraged to 
make it sound as much like a normal conver- 
sation as pos- 
sible. And 
Hawks 



Photo: Courtesy William Self 



written. I know in my hysteri- 
cal scene, after I came flying 
down the hall to tell every- 
body the Thing was loose. 
I'm not sure 1 said the exact 
right words out of the script. 
V\c worked with directors 
who don't change a word. 
Hawks was not that. If you 
said it. if it seemed natural, if 
it made the point, he let it 
stand. You had to say what 
was meant to be said, but you 
didn't have to do it word for 
word. That was true of him every time I 
worked with him. We all knew that w as w hat 
Hawks wanted, and so w^e all just pitched in 
and did it. Not being absolutely held to the 
script permitted us to have some flexibilit> 
in what we said. It was a deliberate style: ii 
was no accident. 

STARLOG: It's a requirement, I have to 
ask this question: Who directed The Thing '! 
SELF: The controversy of who directed The 
Thing is interesting. Chris Nyby [who gets 
screen credit as director] generally ran the 
rehearsal, and Hawks stood on the sidelines 
with his arms folded and watched and lis- 
tened. Then Chris would go over to Howard 
and they would have their pri\'ate conversa- 
tion, and Chris w ould come back and talk to 
us. A lot of things would stand, but about 
others, he would say. "Well, let's tiy this" or 
"Let's try that" or "Why don't you come in 
here instead of rhere'T Hawks was directing 
the picture from the sidelines. 1 know in my 
hysterical scene. I was overboard the first 
time I did it. Hawks actually 
came to me and said. 
"Look. Bill, you're too 




ey fought The 
ing and lived to 
pose for this 
picture: Self, 
Nichols 
nd Tobe 





Be very quiet! They're hunting The Thing 
from Another World. Dewey Martin, Self 
(In rear) andTobey are on the prowl. 

'high* when you begin, you have no place to 
go. You gotta tone it down and we will 
'build.' " That was one of the few times that 
I felt Hawks really directed me. The other 
times, it would be Hawks talking to Nyby 
talking to the cast. 

STARLOG: When Hawks was alive. Nyby 
would talk about The Thing very humbly — 
"Hawks let me direct Jl shot here and there.*' 
Then, after Hawks died. Nyby took more 
and more of the credit. 
SELF; 1 didn't see any of that. 1 felt that 
Hawks was always pretty generous to 
Chris — when Hawks was asked who direct- 
ed it. he said, "Chris Nyby directed The 
Thing." Chris w as a \ery nice man. He may 
have taken a little more credit than he 
deserves \l(n(ghs\, but it would surprise me 
if he really claimed he 
directed the picture inde- 
pendently of Hawks. 
STARLOG: Margaret 
Sheridan, who gets top 
billing, had been under 
personal contract to 
Hawks since 1945. but 
this was her first movie. 
SELF: She was a girl who 
Hawks really believed 
might become [the nextl 
Lauren Bacall. She was 
going to go into a Hawks 
movie [Red River], but 
then she got pregnant and 
lost that opportunity. Afte; 
that, her career never went 
anywhere. She was an 
extremely nice, pretty 
girl — but a very inexperi- 
enced actress. I don't Fifty years ago, 
mean she wasn't good in looking, regular- 
The Thing, she was. But it foreground left. 



wasn't like dealing with. say. Hepburn 
[laughs] ! 

STARLOG: Robert Nichols called her "one 
of the guys." 

SELF: She was very democratic, she just 
bummed around with us and sat with us and 
ate with us. Nothing aloof about her. 
STARLOG: Tobey had only had small parts 
in movies prior to The Thing. Was he "ready 
for prime time**? 

SELF: Ken was a very good actor, and I 
think he was ''ready for prime time." Some- 
thing later came between Hawks and Tobey, 
and I never knew what it was. We all felt that 
Ken was going to go from The Thing into 
The Big Sky — and. as you know, that didn't 
happen. What that was all about, I don't 
know. I felt Ken was ver\' believable. And 
Bob Cornthwaite [Dr. Carrington] was phe- 
nomenal. He had a great memory, and he 
had a great ability to say those impossible 
lines I He just rattled them off, without any 
apparent problems. The whole cast liked 
each other. I don't think there was anybody 
in the cast who didn't get along. 
STARLOG: Tobey told me ithat Douglas 
Spencer [Scotty] was an upstager. and he 
didn't care for that. 

SELF: Doug came up through the ranks — 
he had been a stand-in for Ray Milland at 
Paramount for many years. I don't know 
whether he thought he was more important 
than the rest of the cast or not. I don*t want 
to say that he did. but he wasn't as much a 
part of "the gang." He certainly was an old 
veteran compared to most of us. 
STARLOG: Dewey Martin seems to be 
something of a recluse these days. 
SELF: I don't know why. I have had 
absolutely no contact with him. Years ago. 
someone had a Thing reunion at one of the 
local theaters and invited me and a few of 
the guys. They tried to get Dewey, but... no 
luck. 

STARLOG: The impression T get from 
other Thing veterans is thai James Arness 
was a little embarrassed bv his role, and did 




producer Howard Hawks assembled his non- 
guy ensemble and made an SF classic. That 



not pal around with the cast. 
SELF: No, he didn't. But, you know, with 
all that makeup on. I think it was a little hard 
to "sit around the campfire" [laughs]. He 
was really not "part of the cast." in our opin- 
ion. He was [more like] a highly paid stunt- 
man. (I'm being a little facetious.) But I 
honestly think his makeup was a factor. 
[Arness broke his silence on The Thing in 
issue #287]. 

STARLOG: The Thing is barely in the 
movie — just two minutes of screen time in 
the whole film — and mostly, like when he's 
fighting the sled dogs or running around on 
fire, it's not even Arness I 
SELF: That's cortect. Jim was not around 
very much. They obviously had doubles for 
the fire sequence, the dog sequence and 
everything else. When the Thing came 
through that door, that was Arness. and 
walking down the hallway about to be elec- 
trocuted, that was Arness. But a great deal of 
the time, he was not there. 
STARLOG: To me. the scariest scene in the 
picture is you sitting in the room with the 
giant ice block, and the shadow falling on 
you. 

SELF: That was a scene that was very hard 
for mc to do — the whole hysterical bit, after 
I sec the Thing. Hawks was very, very 
patient with me, I must say. And it turned out 
OK. 

STARLOG: A great deal of The Thing was 
shot at the California Consumers Ice House. 
SELF: We went to the Ice House because 
Hawks wanted — absolutely the right thing 
to want — our breath to start showing. You 
couldn't do that on a soundstage. So they 
built the whole complex in the Ice House. 
.Actually, most of the lime, we weren't cold 
at all — they kept the heat up in the Ice 
House. But. for the scenes after the Thing 
turns off the generator, then the Ice House 
got cold. Those were not pleasant days, but 
we weren't freezing or anything. The Ice 
House was our principal location. .After that, 
the cast and crew went up to Cut Bank, 
Montana to shoot snow 
scenes — and it didn 7 
snow. 

STARLOG: Did you 

shoot anything in Cut 
Bank? 

SELF: My memory is 
that we didn't shoot a 
thing. Cut Bank was 
picked because it's sup- 
posed to be the coldest 
spot in the United States 
and the first area to get 
snow. Neither happened 
I laughs] I 

STARLOG: What was 
the town's reaction to 
being invaded by Holly- 
wood? 

SELF: I happened to sit 
next to Mr. Hawks when 
we were flying in on a 
Constellation, and as we 
approached the little run- 



star, realistic- 
s Self at 



60 STARLOG/S^p/^'/;7/76'r 2001 



way in Cut Bank. I said lo him. "Oh. look at 
all the townspeople out there to greet us." He 
said. "They're not out to greet us. they're out 
to see us crash. This size plane has never 
landed at this airport before!"* [Uuighs] We 
got into Cut Bank and sat around and shot 
pool and did whatever you do in a small 
town when there's nothing to do. and when 
it didn't snow, we came home. The studio 
insisted we come back. I think Hawks would 
ha\ e sat it out and waited for snow, for the 
realism of the setting, but we did come back. 
STARLOG: Tobey says that while you 
were all up in Cut Bank killing time, the 
most entertaining person there was Paul 
Frees. 

SELF: I knew Paul very, very well and he 
was a very entertaining guy. Most of his life 
he made his li\ ing as the Man of a Thousand 
Voices — he did a lot of voiceover work in 
cartoons [as Boris Badenov and others] and 
everything. He could do all these different 
impersonations. He probably was our most 
entertaining off-the-set actor. 

Incidentally, one day I was silting in the 
hotel lobby in Cut Bank and Hawks came up 
to me and asked. **Do you bowl?" I said. 
"Yeah. I can bowl. I'm not a good bowler, 
but I can bow 1." He said. '"Let's go bowling.'* 
This was an absolute shock to me — Mr. 
Hawks, who I respected greatly, came up to 
me, a small-time actor, and said, ''Let's go 
bowling." So we did, we bowled for hours. 
We went back to the hotel and he thanked 
me. That's when I asked Paul Helmick. 
"What was that all about?" He said, "You 
don't know? His father died today." 1 guess 
he just wanted to be distracted. 
STARLOG: \Miat had Hawks been hoping 
to shoot in Cut Bank? 

SELF: He was going to shoot the flying 
saucer scene, the exteriors showing us going 
from the plane into the compound and all the 
exteriors around the compound — with real 
snow and real dogs. But. of course, that did- 
n't work. One amusing story that's supposed 
to be true was thai the Eskimo dogs w e had 
with us in Cut Bank were not brought back 
to Hollywood — "stunt dogs" were hired for 
the North Pole scenes shot on the RKO 
Ranch in the San Fernando Valley, in the 
heat. And those Hollywood dogs wouldn't 
put their feet on the cold snow! At the 
Ranch, they had a great deal of artificial 
snow, w hich was OK w ith the dogs, but they 
also had ice machines to make the more 
realistic snow. These dogs were Eskimo by 
birth but not by habitat [laughs]. They were 
Hollywood dogs, and they didn't like that 
cold stuff. 

STARLOG: At Cut Bank, was the com- 
pound already built and the "flying saucer" 
buried in ice in anticipation of shooting? 
SELF: The compound was built. I really 
wasn't that involved with the production 
staff, so I don't know whether the flying 
saucer thing had been laid out or not. 
STARLOG: So all the long shots of the Air 
Force guys trudging around the compound 
through the snow — 

SELF: We were being doubled in all those 



shots — getting off the plane, coming into the 
compound and so on. That w as all shot with 
doubles after the cast returned to Holly- 
wood. 

STARLOG: Compared to the cold of Cut 
Bank, how was the RKO Ranch shoot? 
SELF: Well, obviously, it was not cold. And 
w e had all the w inter coats and equipment, 
so it was \ cry. very- uncomfortable. We w-ere 
more uncomfortable there than in the Ice 
House! I remember 
that not being a 
totally easy [shoot]. 
And when the fly- 
ing saucer blows 
up. the camera fol- 
lowed the cloud of 
smoke up to the sky 
and the camera tilt- 
ed up beyond [the 
top of the skT back- 
drop]. That's in the 
picture. 

STARLOG: What 
are your memories 
of shooting the 
final scenes, where 
the Thing is elec- 
trocuted? 

SELF: We were all 
wondering how 
they were going to 
do it [shrink the 
Thing down to 
nothingness]. The\ 
used people of vari- 
ous sizes, a shorter 
double for Arnesx 
and then a midget. 1 
was fascinated 
watching them do 
it. 

By the way. one 
day when we were 
about to finish the 
picture. Hawks 
decided to pull a 
gag on the makeup 
man. Lee Green- 
way. Lee had got- 
ten lazy — he knew 
what he needed [for 

work every day], and he didn't bring any- 
thing else. Hawks called me and Lee in, and 
several other people — Nyby. obviously — 
and he said. "W^e're gonna shoot an alternate 
ending to the picture. I want to shoot a new- 
ending where they leave Bill Self behind at 
the compound for a month — he's ordered to 
stay there in case anything comes up. And 
then they come back and fmd Bill there and 
he reports to them about what has hap- 
pened." Hawks then turned to Greenway: "I 
w ant a beard on Bill, to show the passage of 
lime. Just let me know- when you're read\." 
Well, a little while later. I w^ent lookin' for 
Greenway. and I couldn't fmd him any- 
where. 

STARLOG: At this point, you think it's on 
the level. 

SELF: Oh, absolutely — I wasn't in on the 



gag. And I was panicking, because there w^as 
Mr. Hawks sitting there w'aiting for me to 
show^ up with a beard, and Lee hadn't even 
started on me. 1 finally found Lee: He was in 
the storeroom where they kept the dead dogs 
and. because he didn't have any artificial 
hair with him. he was shavmg the belly of 
one of these dogs to get the hair to put on me 
[laiighs]\ I said. "Lee. you're not gonna put 
that dead dog's hair on my face!" About that 



\ 



/ V 



The Thing (James Arness) leans on makeup man Lee Greenway, 
who cradles yet another Thing (midget double Billy Curtis). 



time. Hawks came along and said. "OK, for- 
get it...", and I found out he just wanted to 
teach Lee a liule lesson! 
STARLOG: You had actual dead dogs 
there? 

SELF: Yes. for the scene w here they find 
that the dog has been drained of its blood 
when they pull it out of the cabinet. And. I 
guess, for the sequence where the Thing and 
the dogs fight. So. yes. there was a supply of 
dead dogs there, several of them. And they 
had hair on 'em that almost became my 
beard {laughs\ ! 

STARLOG: I'm sure you're not going to be 
able to answer this, but — where does a 
motion picture studio go for a dead dog? 
SELF: Well. 1 don't know- that. Hopefully, 
those dogs died of natural causes! 
STARLOG: Do you happen to recall seeing 



^INSiXJOQ/Septemher 2001 61 



DOnT MISS WhAT's 




On 

#1 



Interviews: Chris 
Carter, Nicole deBoer, 
Bill Mumy, Rot>ert Dun- 
can McNeill, Roxann 
Dawson, Mark Dacas- 
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Gilligan. Animated 
Godzilla. $6 





Interviews: Jeri Ryan, 
Sarah Michelle Cellar, 
Renee O'Connor, Nana 
Visitor, Terry Farrell, 
Carrie Dobro, Jason 
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First Wave creator 
Chris Brancato. S6 



Interviews: David 
Duchovny, Rene 
Auberjonois, Salome 
Jens, Tim Russ, Pat 
Tallman, Richard 
Chevolleau. Sliders. 
$10 



- w 



Here's the programming lineup 
of past editions. Order NOW. 




Interviews: Kate Mul- 
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director Rob Bowman. 
Young Jules Verne. 
Complete Babylon 5 
Episode Guide. $6 



Interviews: Robert 
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land. The Sentinel Epi- 
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interviews: Christopher 
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Michael Easton, Chris 
Owens, Kevin Kilner, 
Nick Searcy, 85 direc- 
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Interviews: Tia Carrere, 
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Roswell. 7 Days. 
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Note: Issue #7 is SOLD OUT. 



Interviews: Gillian 
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interviews: Sebastian 
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the movie for the first time? 
SELF: We were all imited by Hawks and 
the production company to see the movie. I 
w as \ er> pleased with il. In the first place, it 
\\ as ihe biggest part I had ever played at that 
time in my life, and therefore it was a step 
up in my career. And I thought it was a veiy 
good movie. Time magazine picked it as 
one of the 1 0 best mo\ ies that year. 
STARLOG: George Cloone'y is talking 
about remaking The Thing for TV. perhaps 
as a mini-series. 

SELF: They certainly would have to stretch 
the material to do a mini-series. One of the 
secrets of its success. I think, is that The 
Thing was a relatively short film, only 87 
minutes. 

STARLOG: Did you see much of Hawks 
after you stopped acting in his pictures in 
the early 1950s? 

SELF: I went down to see him just before 
he died. He was given an Honorary Oscar in 
1975, and I sent him a wire saying CON- 
GRATULATIONS MR. HAWKS. Well he 
called me up and he said, "T only heard from 
two people — you and Betty Bacall." And 
then he invited my wife Peggy and me to 
come down to Palm Springs and have lunch 
with him. which we did. We had a lovely 
time with him. at his house. He was sitting 
in the living room with his leg up on a cush- 
ion of some kind — he had either broken or 
sprained it riding his motorcycle I There was 
a housekeeper there who served us lunch, 
and he had his dog with him. And I once 
read that he later fell over that dog. which is 
what caused his final injury. Very shortly 
afier that, he died. I liked Mr. Hawks, and 
he ob\ iously liked me. 
STARLOG: Do you ever watch your old 
pictures today? 

SELF: Once in a while I do. I turn on some- 
thing and am surprised to see myself. 
What's veiy interesting to me is that I don't 
feel any connection to the guy up there. It 
brings back a few memories, and that's 
about it! 

STARLOG: What do you look back upon 
with more pride, your acting career or your 
producing career? 

SELF: My producing career, because I was 
more successful as a producer than as an 
actor. I loved being an actor, but it scared 
the hell out of me at all dmes [laughs]. It's 
a fondly remembered part of m\ life, but 
obviously my producing career was a little 
more successful. 

STARLOG: And now you're working on 
\ our autobiography? 

SELF: It would be wrong to say it's an 
autobiography. I've been very fortunate: 
Fred Astaire, Tracy, Hepburn and all these 
people ha\ e been ver\ , veiy good friends of 
mine — people like Chaplin or [tennis 
champj Bill Tilden. you name it. The book 
is really my impressions of them and of 
Hollywood rather than. "T was born on 
such-and-such a date" and that kind of 
thing. It's about incidents in relauonship to 
some of these people. Including Howard 
Hawks. 




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don't mean to sound like a serious thes- 
pian/' Tea Leoni begins, "but we all 
I came into Jurassic Park III with an 
absolute intellectual awareness thai in order 
to make this movie really strong, the human 
story had to be meaningful and had to be 
taken care of. The basic set-up. a teen gone 
missing, keeps it human. In an odd way. 
that's all I needed to know. I think a mistake 
often made by big movies with lots of special 



Dinosaurs weren't the director's only 
concern, though. "Joe was very aware of the 
need to address the human element in the 
film." Leoni points out. "He can handle 
shooting special effects with ease. He can 
just do them. He never lost his cool on the set. 
and he knew exactly how to shoot that stuff. 
He brought a real respect for making the 
script work. He wanted to find the heart of 
the storv. and 1 think he did that." 



Duchovny has since departed The X-Files, 
and. truth be told. Leoni was hoping her hus- 
band would call it a day after season eight. *i 
wanted David to leave." she says. "I was glad 
that he decided to. It was such an incredible 
amount of time and effort from him. I felt that 
he had really done a brilliant eight years and 
had contributed so greatly to that show. But 
now it's time for him to explore other things. 
I want to see him set real I v turned on again." 



CALAMITY 




Tea Leoni tells the naked truth about her Ji/rass/V; adventures. 



effects, why they sometimes don't succeed or 
don't get the audience to respond to them, is 
that the movies gel so caught up in the special 
effects. It's like someone said. 'Well, don't 
wony about it. because we're going to have a 
huge thing come through here.' Without the 
human element and an involving story, ^vho 
cares"! You get five minutes of your special 
effects and you're like. *I don't care if the 
characters die. I just don't care.' '' 

Directed by Joe {The Rocketeer) John- 
ston. Jurassic Park III casts Leoni as Amanda 
Kirby. mother of a missing youth, Eric (The 
Si.xrh Sense's Trevor Morgan), who ends up 
crash-landing on Isla Soma following a para- 
sailing accident that leaves her boy friend 
Ben (Mark Harelik of Voyager s "Counter- 
point") dead. To save Eric, Amanda joins her 
ex-husband (Fargo's Bill Macy). famed pale- 
ontologist Dr. Alan Grant (Sam Neill. from 
Jurassic Park) and others on a rescue mis- 
sion. Once on the dreaded Isla Soma, all hell 
breaks loose, of course, as the group encoun- 
ters old friends (the T. rex. Velociraptors) and 
new ones — a humongous creature called a 
Spinosaurus, which measures 44 feet, and a 
tlock of flying Pteranodons. 

"The dinosaurs have character and per- 
sonalit). and that's ver\' much to Stan Win- 
ston's credit." manels the actress, referring 
10 the film's master dinosaur-maker. "He did 
an amazing job. I considered the dinosaurs 
my co-stars. Did I notice a difference 
between working with the Raptors and the 
Spinosaums? Yes, absolutely. They behaved 
differently. They had different levels of 
aggression, different levels of smirkiness. 
Really, it was intense. 

"Did I feel safe every day? No. Normally 
a director comes over and says that kind of 
classic line: That Caesar, you really hate this 
gu\.' or 'Here's your motivation. You're in 
the woods and. . . ' You get that kind of ad\ ice. 
On this, the direction w e got from Joe was. 
"OK. now remember, these things weigh 
approximately three tons. They ha\e 6.000 
pounds of pressure per square inch in their 
mouths. So just be a little careful about where 
your hands are in this scene. OK?' " 

X- 

www.starlog.com 



Jurassic Park III isn't Leoni's first jour- 
ney into large-scale moviemaking. She co- 
staiTed in the 1998 summer blockbuster Deep 
Impact. Leoni played Jenny Lemer, an ambi- 
tious TV reporter who breaks the story that a 
comet will soon crash into Earth, destroying 
much of the planet and killing millions. But 
e\ en as she keeps a terrified nation up to date 
on the pending disaster, Lemer attempts to 
make peace with and between her own par- 
ents, played by Maximilian Schell and 
Vanessa Redgrave. 

"Deep Impact was interesting because it 
was the first time I had really been involved 
in a project that was recei\ ed on that kind of 
a level, with that size of an audience." notes 
Leoni. whose non-genre credits include the 
sitcom The Naked Truth, as well as A League 
of Their Own. Bad Boys. Flirting with Disas- 
ter and The Family Man. "I was ver}' pleased 
with the film. I thought Deep Impact was 
\ery sweet in certain ways. We 
could have left the human story 
behind on that one. and I was 
impressed that v\e didn't. When I 
say we. I'm about as involved in 
that part of the process as... I just 
do my little job and see w'hat they 
do with it. I think [director Mimi 
Leder] did a good job of taking care 
of it." 

Leoni managed to squeeze in 
one other genre gig — the '*Holly- 
w^ood. .A..D." episode of The X- 
Files. The seventh season show w as 
written and directed by David Duchovny. 
Leoni's husband since 1997 and the father of 
her two-year-old daughter. Madelaine. Leoni 
and Duchovny's pal Garr}- Shandling played 
themseh es playing agents Scully and Mulder 
in a big-screen version of The X-Files. 

"I had a blast!" Leoni exclaims. "T had 
such a good time. It was a fun show. I was 
itching to have David direct mc in something. 
He's going to direct movies ai ^ome point, 
and I'm going to make him put me in one. 
That's the thing — I ha\ e that kind of power. 1 
have real power. I'm in that bed. Whate\ er it 
takes, baby! That role is mine, pal." 
Files Photo: Larry Watson/Copyright 2000 Fox Broadcasting 



Leoni herself is certainly turned on by her 
current projects. She has just wrapped the 
drama People I Know with .Al Pacino and 
Kim Basinger. and is now lensing Woody 
Allen's top-secret 2002 project. If the nming 
works out. she hopes to star in Intolerable 
Cruelty for the Coen Brothers. 

And. at some point down the road, don't 
be too surprised if Leoni finds herself yet 
again dodging dinosaurs. "I am so open to 
Jurassic Park IV that I made a phone call 
somewhere in the middle of filming and said. 
"Figure out how to get me back. Don't kill 
me. OK? I really want to come back.' I'm not 
sure how 1 could come back, unless my child 
went missing again." Tea Leoni admits. "My 
suggestion was that maybe I could start an 
affair with Dr Grant in Jurassic Park IV. so if 
he gets caught up in this mess again. I would 
be at his bedside and he would have to take 
me along!" 



When newscaster Leoni 
reports the end of 
the world in Deep Impact, 
she's not kidding. 





Ily and^Wulder got semi-horizontal 
ni and Garry Shandling played 
the X-Files characters in David 
Duchovny's "Hollywood, A.or^ 



STARLOG/September 2001 65 



i 



ER actress Ming-Na 
makes animated history in the 

futuristic Final Fantasy. 




66 STARLOGA^?/;r^m/?^r 2001 




By IAN SPELLING 

It only makes sense that actress 
Ming-Na is voicing Dr. Aki Ross, 
the heroine of the new all-CG-ani- 
mated SF saga Final Fcunasy: The 
Spirits Within. Though Ming-Na 
knew little about the series of PlayStation 
interactive games on which the film is based, 
the actress appreciates the SF genre and is a 
Ufelong fan of animation who pro\ ided the 
voice of the titular heroine in Mulan. And 
beyond all that, she's a \ctcran of game- 
based films, having co-starred with Jean- 
Claude Van Damme and Raul Julia in the 
big-screen \ ersion of Street Fighter. 

"Yn\ not embarrassed to say that I used to 
be the president of my science fiction club in 
high school, as geek>' as that may be.** Ming- 
Na reveals with a laugh. **I used to read all the 
SF books that came out. SF is a pan of my 



life. When I was a little kid. I saw all the Dis- 
ney films, like Cinderella and Sncnv White. 
When I became a hip teenager. I was into 
Heavy Metal. It was so controversial at the 
time because it took animation to another 
level. I also loved Speed Racer and all of 
those TV shows with Japanese animation that 
came along. 

•'For me. Final Fantasy is just so much 
fun. It's great to be on the cut- 
ting edge of technology and to 
be involved in this arena with 
other people who are as excited 
or even more excited about the 
project. Many of the filmmak- 
ers have been involved for near- 
ly five years. I've only been on 
the project for three. So Filial 
Fantasy means \ery much to 

Final Fantasy: 
The Spirits 
Within isn't her 
first venture 
into a video 
game-based 
film. iVIing-Na 
earned her 
stripes as 
Chun-Li in 
Street Fighter. 



many people. Probably the closest I've come 
to actually doing a genre film before Final 
Fantasy v\ as Street Fighter [if one doesn't 
include the little-seen 1994 SF feature Termi- 
nal Voyage, a.k.a Star Quest, with Steven 
Bauer. Emma Samms and Brenda Bakke]. 
That's how I hooked up with Jun Aida. Jun is 
one of the producers of Final Fantasy and he 
and I worked together on Street Fighter. 





street Fighter Photo: Jim Townley/Copy right 1994 Universal City Studios, Inc. 



r 




We've maintained a friendship over the years, 
and he brought me into Final Fantasy y 

Spirited Story 

Set in 2065, Final Fantasy unfolds on 
Earth at a lime of tremendous crisis. Soul- 
sucking aliens have been on the planet for 
years and now threaten to destroy mankind 
once and for all. Hawks within the military 
prepare to eradicate the aliens, even if it 
means decimating everyone and ever\ thing. 
Dr. Ross, a beautiful but alien-infected scien- 
tist, thinks she can saxe the day and possibly 
even herself before it's too late. The film, co- 
directed by Final Fantasy game creator 
Hironobu Sakaguchi and Moto Sakakibara. 
features revolutionary photo-realistic anima- 
tion and a screenplay by Academy Award 
nominee Al {Apollo 13) Reinert and Jeff Vin- 
tar. story by Sakaguchi. Among those also 
providing voices are Alec {The Shaciow) 
Baldwin, Donald (Space Cowboys) Suther- 
land. James (Hercules) Woods. Ving {Pulp 
Fiction) Rhames, Peri (Frasier) Gilpin and 
S te ve ( .4 nnageddon ) B li s c e m i . 

"Aki is a very independent and strong 
woman who really follows her heart and 
doesn't take no for an answer,"* Ming-Na 
notes. "Those are qualities 1 always hope to 
achieve for myself and I think that's why she 
interested me so much. She doesn't mind 
risking her life if it means accomplishing 
whatever she has set her mind to doing, 
which in this case is saving the world. 
Beyond the character. I liked that Sakaguchi- 
san wanted to incorporate the idealisms of 



Final Fantasy's 
filmmakers 
understood that the 
best film 

technology and FX 
can only take a 
story so far. Ming 
Na was grateful 
for the script's 
spiritual aspects. 



much. The emotions have to be there. But the 
technology of the animation itself in Fi/uil 
Fantasy is so intriguing and spectacular. 
When I first saw five minutes of the film, it 
just blew my mind, but our human senses 
adapt very quickly. So, ultimately, the film 
has to affect the audience emotionally and be 
able to tell a good stor}\ I want people to be 
completel\ entertained and fall so in lo\ e with 
the characters that they'll come back and see 
the film again. And 1 w ant them to see the FX. 
the way that the technology has been taken to 
the next level. It's such a pioneering project. I 
remember when I first saw Star Wars. I could 
not wait to 20 back and see it again for all the 



different elements — for the stor>\ the charac- 
ters, the music and the sound. 

"I know people are excited about Final 
Fantasy, and that's great. My [eight-month- 
old] daughter Michaela is loo young to 
appreciate it. but she will someday. I hope. I 
have a nephew who is definitely old enough 
to enjoy the film, and he can't wait. He plays 
all the games. I've also got friends' kids who 
are very excited. Actually, let me rephrase 
that — many of my friends are incredibly 
excited about Final Fantasy, tool I have 
many computer-fanatic friends who are just 
dying to see this film. / am dying to sec the 
film. I've only seen about 20 minutes. I keep 




h\\t\iy\\':i or 

ulibf-bij'j. 




"I could 
act through 
my virtual - 

reality 
counterpart 
and never 
aae." 



how we connect to Earth as human beings 
and what our spiritual elements are and how 
that lies us together with each other. Earth 
and maybe with other creatures. So there's 
that kind of karmic idea in the film. I really 
got the sense that the filmmakers didn't want 
the technological aspects, the animation 
breakthroughs, to overwhelm the story. Final 
Fantasy is larger in scope than you might 
expect from a big summer SF mo\ ie. and I'm 
grateful that the spiritual aspect is in there. I 
just think it's a beautiful part of the film. 
That's \\h\ the film is called Final Fantasy: 
The Sj)irii.s Within. 

'*In the end. the best technology and the 
best FX can onlv interest the audience so 




Ming-Na spent 
countless hours in 
a sound booth 
ver the course of 
three years to 
bring Aki to life. . 



68 STARLOG/S^pr^wZ?^/- 2001 




^^I used to 

be the 
president of 
my science 
fiction club 
in high 
school/' 



Playing Aki 
provoked Ming-Na 
to ponder the 
complications of 
virtual characters: 
"Do we have to 
have licenses and 
copyrights on our 
own images?" 




joking to the filniniakerb thai that's all there 
is. 20 minutes, and they had better hurr>' up 
and finish the rest." 

Animated Woman 

Ming-Na (once billed a> Ming-Na Wen) is 
best known to audiences for her role as Dr. 
Deborah Chen on ER. but her other credits 
include the films One Night Smnd and The 
Joy Luck Club, as well as the sitcom The Sin- 
gle Guy. And her animation work is not lim- 
ited to Mulan. Ming-Na also provided the 
voice of Lisa Wu/Jade in the HBO series 
Spawn. 

Most people assume that voiceover work 
is fairly easy, and the actress doesn't neces- 
Scirily disagree with that perception. "It's easy 
in the sense that you can do an entire film in 
just a handful of sessions, but those sessions 
are done over a few years.** explains Ming- 
Na, who says she can recognize her lips and 
certain gestures in Dr. Ross. "Final Fantasy 
took three years. You go in and you work four 
or five hours, so it*s a short day. But it's 
intense. It's all you. And it's all you talking 



the whole time. For an 
actor, that takes a great 
deal of patience. You're 
not working off another 
actor. You don't have 
great scenery to inspire 
you. You're stuck in a 
sound booth for those 
four or fi\e hours, and 
you're one part of the 
process. I'm just one of 
the actors involved in 
Final Fantasy. And. 
again, the whole tllm can 
take four or five years to 
make." 

One of Ming-Na's 
upcoming projects — be- 
sides joining her hus- 
band, actor Eric Michael 
Zee. to produce an album 
Tor an Asian-.Amcrican 
boy band called At 
Last — is yet another ani- 
mated film, Mulan II. It's 
a direct-to-video sequel 
to Disney's 1998 box 
office hit which chroni- 
cled the adventures of the 
young — and female — 
Chinese heroine Fa 
Mulan. 

"I loved Mulan." 
enthuses Ming-Na. "Lit- 
tle girls enjoyed it and I 
w as \ ery happy that boys 
also liked it. It was great 
that they accepted and 
rooted for a female hero. 
I love the character, and 
in Mulan II she's doing 
even more stuff. Mulan 
was really a different 
experience from Final 
Fantasy, in terms of sit- 
ting and watching it. I 
was familiar with that 
type of animation, so w hen I saw my \oice 
come out of Mulan it wasn't that big of a 
shock. It w as strange to hear my voice come 
out of Aki in Fi?ial Fantasy, though, because 
she's just so photo-reahstic." 



Sakaguchi has suggested that he might 
take the computer-generated character of 
Aki. change her clothes and possibly dye her 
hair, and then — like a real actress — pop her 
into another role in some other film in an 
entirely different genre. That's news to Ming- 
Na. but she's more than open to the idea. "Of 
course I would be up for it." she declares. 
"She's my better half. I can live my diva fan- 
tasies through Aki. Actually, it would be like 
the fountain of youth. I could act through my 
virtual-reality counterpait and never age." 

Of course, that ver\' possibility opens up a 
whole can of worms. "One of the things 
that's so interesting about Final Fantasy is 
that it's the first of its kind, and thcre*s trepi- 
dation on my part as an actor, all joking aside, 
about playing a virtual character." Ming-Na 
confesses. "Seriously, what docs that entail 
as far as filmmakers being able to do stutT 
with our images on a \ irtual-reality basis?" 

In the case of The Crow, after the acciden- 
tal on-set death of Brandon Lee. director 
Alex Proyas digitally superimposed Lee's 
head on someone else's body in order to fin- 
ish some scenes in the film. "They did it with 
The Sopranos [digitally creating a final scene 
for Nancy Marchand]. too." Ming-Na con- 
cludes. "It's kind of creepy. Do we have to 
have licenses and copyrights on our own 
images? I don't know what that means. It's 
ver\' interesting. It leads to many, many other 
questions, and yet that's another exciting part 
of it all." 




The actress gave 
voice to another 
headstrong animated 
heroine in Mulan. A 
direct-to-video 
sequel Is on the way. 



WW w.starlog.coni 



STARLOG/Septemher 200 J 



69 




4. 




Travel back in 
time to 
investigate The 
Infinite Worlds 
ofH.G. Weils 



The shape of 

Wells ^^^^ 



By JOE NAZZARO 



What if The X-Files had been set in 
Victorian England? And instead of 
agents Mulder and Scully, the pair 
of investigators exploring strange and unex- 
plained phenomena were SF pioneer H.G. 
Wells and his wife Jane? That's pretty much 
the premise of The Infinite Worlds of H.G. 
W'elis, a new six-hour mini-series premiering 
this month on the Hallmark Channel (fomier- 
Iv the Odyssey Network). 

The Infinite Worlds of H.G. Wells is the 
brainchild of writer-director Nick Willing, 
who says labeling the project a Victorian X- 
Files isn't all that far-fetched. "I initially 
called it a 'Victorian Twilight Zone.' " claims 
Willing, whose previous genre credits 



i include Photographing Fairies and the Hall- 
• mark productions of Jason and the Argonauts 
and Alice in Wonderland. "That was before 
- The X-Files had aired, which is how long ago 

■ I started de\eloping this project. 

"For me. one of the exciting things was 
that it was Victorian SF, which is something 
you don't see verv' often. One usually associ- 
ates SF with the future, or at least the present. 
\ but we've actually gone back in time to look 

■ forward. Often, at the beginning, >ou have 
the strongest, most passionate, most lucid 
vision: I sometimes think that of the early 
movements in an. like dada or sun'ealism. 

"The reason I describe the show as a sort 
'\ of Victorian X-Files is because Wells and 



i Jane become these investigators of unknown 
\ phenomena." Willing notes, "to such an 
, extent that Wells eventuall\' develops a repu- 
tation for looking into the weird and incredi- 
ble. Right now. we're still at the stage where 
he's seeking out the extraordinar\- as inspira- 
. tion for his work. I hope Chris Caiier will see 
; that as a compliment rather than us trying to 
' steal his thunder." 

strange Stories 

It has been more than a decade since Will- 
ing first began kicking around the idea of 
developing a television project based on the 
rarely adapted short stories of H.G. Wells. 
! "One or two have been dramatized, but the 



70 S>1ARL0G/September 2001 



www.starlog.com 



majority haven't. I visited Martin Wells, one 
of H.G. Wells" descendants, in Cambridge, 
v^hcn I first had the idea, and he was ver>- 
nice to me. He put me up in his house and we 
spent an evening over port, and I asked him 
for the copyright. First. I had to convince 
him. and then he said. *0K, make me an 



scientist and a teacher — he taught kids at 
a school near Camden — and he had to 
ha\ e ihe courage to break out from that, 
and she gave it to him. We're talking 
about the birth of all science fiction — 
The Time Machine. The War of the 
Worlds, The Invisible Man. The Island of 




•Hi 



offer.* I then spent the next 10 years develop- j Dr Moreaii. The Shape of Things to 



mg the stories into dramas, in various incar- 
nadons. 1 was with the BBC for a time and 
they wanted to do it. and then Oxford Films 
and so on. But Robert Halmi [president of 
Hallmtu-k Entertainment] was the only man 
who put his money where his mouth is. and 
said, 'I want to turn it into a mini- series.' 

'The conceit of our show is to use Wells 
as a character during the period of time when 
he was writing the vast majority of his short 
stories— between 1889 and 1896. The first 
things he wrote were incredibly fantastical, 
overblown and imaginar>." says Willing, "but 
then he read a book by J.M. Barrie. It was 
about the art of writing, and it said, 'Take the 



: Come; and that's just a drop of the ocean 
to the libraries of books he produced." I 

Although Willing had originally 
hoped to write and direct the project 
himself. scheduUng problems put him in I 
a producing role for this series, w ith the 
directing reins being handed over to Robert 
Young, and an assembly of writers teamed 
together to work on various stories from 
Willing's outlines. "My contribution was 
much more hands-on in the scripts " he 
admits, "and I also got involved in the casting 
to a certain degree. Dyson Lovell. the other 
producer, \\ as very important with casting as 
well. After the first week, I gave him a series 



Ih-zi -riJArii'jrSniiisj'jJnU hli; vjU':^ Junbi [r.iiij 




o^dinar>^ the everyday, the things we rec- 
ognize and spin your stories around 
them, and you will find universal issues 
that everybody can identify with.* Wells 
then started writing SF and his extraordi- 
nary stories, but based in the ever\^day 
worid that he knew. He would have sto- 
ries that started with T was walking 
along the Thames embankment when an 
old tramp shuffled up to me and tried to 
sell me a diamond, which he made in his 
front room in Camden Town.* That first 
sentence would make you think, 'Wow 
want to read on!" 

"So that's where we got the idea for 
making Wells into our central character, 
accompanied by his wife. In many 
ways.'' he adds. "Jane [actually called 
Catherine in real life] gave him strength 
and courage throughout, and was his 
great muse. I think she recognized his 
senius before it was bom. Wells was a 




Following in the footsteps 
of The Secret Adyentur^s 
of Jules Verne, The Infinite 
Worlds Qf^;GrWells 
explores the investigations 
of another SF pioneer. 



of notes about what the network and Hall- 
mark wanted, and then I became the channel 
through which all these messages were sent." 

Extraordinary Origins 

The Infinite Worlds of H.G. Wells begins 
with the author (Tom Ward), who is nearing 
the end of his life, receiving a visit from jour- 
nalist Ellen McGillvray (Fve Best). During 
their conversation, it becomes apparent 
to Wells that his guest may not be who 
she claims, and a subtle game of cat-and- 
mouse soon ensues between them. 

"There's a story within a story within 
a story.** explains Willing. "The first 
episode begins in 1946. the year of 
Wells* death, so he lived long enough to 
see the first atom bomb, which is some- 
thing he had predicted would finally 
come aboiu. So we have an old Wells 
being visited by a young journalist, and 
in that opening scene. Wells is suspi- ; 
cious. but it takes the whole of the first 
episode to suss her out. And the stories 
that she's asking about have as much sig- 
nificance in 1946. just after the second 
World W^ar. as they did in their own 
time." 

Each episode features two of Wells' 
short stories, which have been adapted 
so that the erstwhile author stars in them, 
providing a first-person POV. "The first 
of them is 'The New Accelerator.* " Will- 
ing describes, "about a man who invents 



1 





Smitten 
wi(h the 
spoken-forjjk 
Jane, Wells 9 
(Tom Ward) 

I follows his 
Afife-to-k>e into 
a lecture hall, 
.sparking the 
I story of 
I "The New 
Tlcceleratorr 



a nerve tonic which speeds up the human 
metabohsm to the point where the world 
stands still and the person becomes in\ is- 
ible as they move in a different time, like 
a ma> On. Meanw hile. Wells falls in love 
with Jane (Kai) Carmichael]. who has 
just gotten a job as a teacher at the Impe- 
rial College, and because he's pestering 
her. he follows her into a lecture theater. 
We're then introduced to young Mark 
Radcliffe [Raymond Coulthard]. who 
Jane is in love with and has been dating 
for some time, and this puts poor old 
Wells' nose out of joint. It's a love story 
w ithin a detective story w ithin a SF story, 
so it becomes quite complex. 

'The original short story is mainly 
about this person who develops a ner\e 
tonic and drinks it. He creates mischief 
by taking a horrible poodle and throwing 
it up in the air and putting it on a 
woman's head, but he runs so fast 
through this statue-still park where these 
people are ha\ ing their Sunday afternoon 
enlerlainmeni. that his clothes catch fire 
and gel destroyed. The idea of someone 
creatine this nerve tonic is somethins I've 





play a part whereby he doesn't change 
anything. The only thing he takes back 
with him the second time is Wells' note- 
book, so Wells is reading something thai 
he wrote but has had no experience with, 
and I found that idea totally fascinating. 
It's a piece of fiction, but it's also his 
book and it's true." 

Needless to say, the stories featured 
in episode one share the notion that there 
is usually a price to be paid for such 
wonderful discoveries. "That's one of 
Wells' themes throughout all his short 
stories, and indeed, in many of his nov- 
els: that there is a greater balance. He 
wasn't necessarily a religious man," 
Willing offers, "but he did believe in the 
power of nature, that if you mess too 
much with our world as we know it, bad 
things happen. I also wanted to show that 
this is the man v\ ho invented time travel, 
so I was veiy keen to use that in 'Brown- 
low's Newspaper.' And with 'The New 
Accelerator.' I wanted to have an invisi- 
ble man story that we had never seen 
before, so both stories have this wonder- 
ful, otherworldly twist." 

Infinite Ideas 

While the first episode of Infinite 
Worlds focuses on some of Wells' 
grander themes, the stories in episode 
two are a bit more unsettling. "The Cr>^s- 
tal Egg" is discovered by a drunk in a 
park, and eventually ends up in Wells' 
hands. "In certain conditions," says Will- 
ing, "when the light is just so, and the 
egg is tilled in a certain way, when you 
look into it. you will see life on Mars. It's 
the stor> he wrote before War of the 
Worlds, so again, it's a story that gives us 
a taste of things to come, but it's a take 
we've never seen before. 

"The story that follows ['The 
Remarkable Case of Davidson's Eyes"] 
is about this poor, unfortunate associate 
of Jane's who is caught in a piece of 
equipment during this craz\ experiment 
to emulate [Nikola] Tesla's early work, 
w here he tried to boimce radio waves off 
the stratosphere. Davidson's vision is 



V?e re talking about the birth of all science fiction. 



99 



never seen before, so wc took that idea and 
constructed a story around it. Wc"\c also 
intertwined the love stor\ between Jane and 
H.G. Wells, and the pursuit of his new goal, 
which is to become a writer." 

If "The New Accelerator" foreshadowed 
The Invisible Man. then the second tale. "The 
Queer .Story of Rrownlow 's Newspaper." 
ma\' ha\e provided the spark of inspiration 
for The Time Machine. "We've taken the 
original idea and adjusted it." says Willing, 
"so it's now about a man. Brownlow, who 
works for the London Underground, fixing 
the huge electronic generators that pow er the 
trains. He gets caught in a terrible electronic 
force field, and is literallv taken back a week 



into his past. But also taken back with him is 
his new spaper. w hich now becomes a predic- 
tor of the future. Unlike the original short 
story though, which went 40 years into the 
past, it's only a week [in the show']. Dramati- 
cally, you can't use 40 \ears. So this man 
basically has a week to use what's in that 
newspaper to make himself rich and happy 
and to transform his life, and through doing 
that, he's introduced to Wells. 

"What Brownlow tries to do is change 
some of the things that w'ent wrong on that 
night, so he tries to save a dog. for example, 
but in doing that, he causes the death of his 
friend, so a man's life is lost instead of a 
dos's. And in tn ing to reverse that, he has to 



twisted in such a way that he sees what's 
going on halfway across the world, so every- 
one thinks he has gone mad. Wells' original 
idea wasn't really enough to make into a 
drama, so what we've done is make what 
Davidson sees significant. He ends up saving 
a man who was in a shipwreck and is now 
one of the last survivors on an island." 

The final episode shows off two of Wells' 
more humorous tales, providing a sharp con- 
trast to the series' framing sequence. "Wc find 
out who Ellen is." Willing reveals, "and the 
experience changes Wells in a fundamental 
way. In recalling the past, he's able to work 
again. He starts our stoiy off as a bitter, twist- 
ed old man, and through recalling his past and 



72 STARLOG/Seprember 2001 



www.starlog.com 



revisiting his experiences with Ellen, he s 
transformed as a character. 

"The first story in ihe last episode, 
which is one of my favorites, is "The 
Truth About Pyecrafl." It's about a veiy fat 
man who wants nothing more than to lose 
weight, so he goes to this strange, magical 
pharmacist who gives him a potion that 
does exactly what he asks for: he loses 
weight — and floats to the ceilingi So 
Wells has to make some lead underpants 
for him. and the guy eventualls becomes 
the greatest dancer in London. It's funny, 
bittersweet and sad. and it's the one tele- 
play that's most like the original short 
stoiy. 

"We also chose The Stolen Bacillus.' I 
It's about an anarchist who breaks into the 
house of a leading scientist and steals a 
deadly bacillus. It's the origin of all those 
viral stories we've come to love," Willing 




''l inifiaUv called it a 
'Victorian Twiliglit Zone. 



explains, "and this virus threatens not only 
London, but also all of humanity, because it's 
a truth serum, and for two or three days, peo- 
ple can only speak the truth. It brings down 
London and the houses of Parliament have to 
be shut. That stor> 's theme helps unveil the 



truth in the bigger stories — the truth 
between Jane and Wells in their 
romance, and the truth between Ellen 
and Wells in 1946. So we get some clo- 
sure to that. 

"The first night of the series is rooted 
in Wells' two bis 



DsiW/.b jJbU-j' ;j07zil2, ihbi 



strengths." the produc- 
er points out. "which 
were the invisible man 
and time travel [stor\ - 
lines], but we also tried 
to introduce something 
new and different. The 
second night, which 
'The Crystal Egg' and 
'Davidson's Eyes.' is very 
foreboding and scary, while 
The Truth About Pyecraft' 
is an out-and-out comedy 
and The Stolen Bacillus* is 
a Capra-esque screwball 
series of events, but still 
\ cry much within charac- 
ter." 

With The Infinite Worlds 
of H.G. Weils finished. 
Willing says he's delighted 
with the way the project 
came together, "fve earned 
it around for so many years 
that I'm happy it has fmally 
happened. Roben has been 
wonderful with the actors, 
and he has created two real- 
h dynamic characters in 
\\'ells and Jane. I'm also 
ihrilleJ thai all the people 
\\e"\e shown it to so far 
ha\e been really captivated 
by it. That's a testament to 
Wells as well as all the 
work we've done." 




And should this first mini-series prove 
successful. Willing has already mapped out 
plans for a possible follow-up. but says the 
next installment of Wells' adventures would 
be \ ery different in tone. "The same way that 
the first series is based largely on his SF sto- 
ries, the next one would be largely based on 
his supernatural stories." Willing confirms. 
"He wrote many weird stories, like 'Pollock 
and the Porroh Man' and The Late Mr. Elve- 
sham." which still ha\ e the spark of scientific 
explanation, a bit like Sir Arthur Conan 
Doyle's Professor Challenger going about 
tr\ ing to unpick the supernatural events of his 
day — but with the mind of a scientist." 
i In the meantime. Nick Willing hopes that 
: \iewers will enjoy this first TV mini-series, 
which is now over a centur\- in the making. 
"On the surface, it's a show that tries to go 
I back to the beginning of science fiction,'' he 
i reflects, "but it's also a stor\' that hopefully 
; teaches us something about ourselves now, 
' and as all the best SF does, it's provocative in 
that sense. I think it's funny, scary and also a 
fantastic love stor\' with compelling charac- 
ters. It delves into the unexplained from the 
perspective of the man who first dreamed of 
the unknown." ^ 



STARLOG/Septemher 2001 73 







Jedi: Special Edition gave the dancing queen another dancing scene— this time with three partners. 



Na Natooia!" (whatever that means). Jabba 
immediately sends her plunging into a pit. 
w here she's promptly killed by the even more 
revolting Rancor. 

Oola is sexy and tragic, a character who 
seems a throwback to the SF pulps and Flash 
Gordon comic strips of the 1930s. Despite 
her short life, she makes a definite impact in 
Jedi, and even appeared on some of the film's 
foreign-release posters. 

• I'm really pleased she made an impres- 
sion/* admits the beautiful 
British actress-dancer Femi 
Taylor, who played Oola. 
"She was an interesting 
character who came to a 
tragic end.** 

Oola's demise in Jedi ini- 
tiates the story's grim theme 
of death— she's the first to 
die in a movie that also 
claims Jabba. the Rancor, 
Boba Fett. Yoda. Danh 
Vader and the Emperor, as 
well as countless Empire 
minions. Rebel fighters and innocent Ewoks. 
And to Taylor's credit, she manages to make 
Oola both attractive and mysterious in her 
brief scenes, despite the fact that she's green, 
hairless, speaks no intelligible dialogue and 
has two ski-pole-sized tails hanging off her 
head. 

Slave Girl 

There was, of course, no off-screen 
romance between Taylor and co-star Hutt. 
-Jabba looked so lifelike and real, he was 
almost disturbing, even though 1 knew he 
was a giant puppet w ith four men inside." she 
explains. "The computer Jabba [a CGI effect 
in Star Wars: Special Edition and Tlie Plwn- 



tom Menace^ doesn't have a patch on the 
original. It's too neat. My Jabba. the puppet 
Jabba, had so much character in his face. His 
tongue and eyes moved, he was covered in 
slime and he was just so real. It was quite 
daunting once I got into character. I looked at 
him and thought. T really ha\'e to be strong to 
stand up to you.* " 

Playing Jabba's alien concubine present- 
ed numerous challenges for 
Taylor. "The green paint 



people operating Jabba had this little moni- 
tor. They had to really be on the ball with m\ 
movements, because they couldn't see what I 
was doing choreographically. A few times. 1 
got strangled while jumping around." she 
giggles, "but then they would let loose on my 
leash! 

"The tentacles on my head were even 
more difficult. They were very heavy to wear 



You don't 
actually see nib 
killed In the 
movie, so 1 
could have 
escaped/' 



took about three hours to 
apply because they had to 
put on four layers." the 
actress recalls. "I had to 
stand still and wait for each Swinging arou 
layer to dry. It was quite for Taylor, who 
tedious, but worth it. They 
painted it on by sponge, and it was hard not 
to sweat it off while dancing. It was e\cn 
harder the second time around, making the 
Special Edition, because they used different 
paint material. In between takes. I would just 
lie down and not move." 

Dancing around in the slave collar "was 
very hard the first time, because I was 
attached to Jabba bv a 20-foot leash. The four 




nd in a slave collar was a pain in the neck 
was semi-strangled by the restrictive leash. 

when 1 was dancing. I managed, but it wasn't 
easy. I had to get over the obstacles of the 
leash, the tentacles and the sand on the floor 
and know exactly what 1 was doing." 

Despite Oola's abbreviated lifespan. Tay- 
lor became the only Star Wars actor called 
back to reprise her role in the trilogy's Spe- 
cial Edition. "I was blown away by that." she 
admits. "To be the only person brought back 



w w w..star I og. com 



SlAYtl^OG/September 2()()1 75 



N extraordinary, 
isn't it? I get 
r e a 1 1 > 
busheled up 
about it." 





Being ^ 
back in the 
green skin after 
a 16-year hia- 
tus was "so 
freaky. And to get 
the phone call all 

those \ ears later from George Lucas" com- 
pan\ I They told me. "We're revamping the 
Star Wars trilogy and your scene in Jedi. 
We would like you to come out and do it. 
but we were wondering if you had changed?' 
I sent them shots of me now and they said. 
'You look great! You haven't changed!' and 



booked me a flight to San Francisco!" 

Slipping back into that skimpy net cos- 
tume. Taylor had to deal with dancing half- 
naked in green paint again. "I wasn't even 
thinking about the costume [the first time]." 
"/ she smiles. "I never even thought how 
revealing it was. I decided, T'm gonna 
■ put this on and Jo m\ job." 1 was so 
into the pan and what 1 was doing. I 
just didn't notice. Not until 1 did it for 
the Special Edition did I realize what a 
funk\. re\ealing costume it is!" 

Taylor has only happy memories 
of her initial trip to Jabba's Palace. 
"There was such a great vibe on 
the set" she says. "Mark 
Hamill used to come up 
between takes and chit-chat, 
and Billy Dee Williams was so 
charming as he smooth-talked 
me. [Director] Richard .Marquand 
was great. I knew I was in safe hands 
with him. It was such a loss w hen he 
left us." Marquand died in 1987. 



1 



Dancing Queen 

The Nigerian-bom performer, whose 
first name Olufemi means "God loves me," 
landed the Jedi role in 1982. "I got a phone 
call from my agent, who said they were audi- 
tioning for a film. I was told 1 would meet the 
director and dance for him. 1 was at a call 
with several other girls and met Richard. He 
said, 'We'll be calling a few of you 
back." They kept it very quiet and 



didn't tell us what we were auditioning for, 
just that we had to wear a swimsuit. so we all 
got a bit nervous. 1 jokingly said to Richard. 
T hope it's not a blue movie because my par- 
ents won't be happy.' " she chuckles. 

"On the second audition. I thought. Tt's 
not a blue movie, because the dancing is pret- 
ty hard.' They told us it was the third Srar 
Wars movie and we went. *My gosh!" I was 
pretty confident, though, and felt I had to 
leave my fate in the lap of the gods. The first 
thing my Dad asked when 1 got the job was, 
"Who is the director?" 1 said. "Richard Mar- 
quand.' And Dad said. 'We know him!* When 
I was six years old, our families would get 
together for Sunday lunch. A\ the audition, 
Richard told me. '1 know your face from 
somewhere, but 1 can't think where." At my 
costume fitting for Oola, I told him. 'I've got 
a surprise for you: We know each other!" He 
said. 'Oh my! You're Richard Taylor's 
daughter!* ** 

The actress had been appearing on the 
London stage when she answered the call of 
the Jedi. "At the time. I was doing Cats in 
London 
with Brian 
Blessed 
[who later 
voiced Boss 
Nass in The 
Phantom 
Menace]. I 
would 
literally 



M \ 





w ash off my green makeup after a full day as 
Oola and put on my Cars makeup that nighl 
to go on stage." 

Doing Jecli tor the second lime, the 
actress got to know Lucas. "George was so 
sweet." Taylor declares. "He said. 'Oh. Femi, 
it's really good to have you back on board/ In 
1983. I didn't know George at all. I saw him 
once at a wardrobe fitting. He was so shy, I 
mistook him for a second unit camera guy 
because he was always behind the camera, 
shooting. 1 didn't know him. so coming back 

''A few times, I 
got strangled 
while jumping 
around/' 

1 6 years later to meet George was nice. I got 
on with him on a normal level; he's like a 
long-lost mate. I also can'i say enough great 
things about his executive producer. Rick 
McCallum. I really got along with Rick. 

"It was Rick who told George, 'Let's do a 
death scene for Oola and really build this up. 
Let's do her original scene and follow it 
through so we see her right up to her getting 
killed.' But you don'i actually see me killed 
in the movie, so I could h'd\e escaped.** 

For this new lv added scene, Lucas had a 




Taylor was delighted by the offer from 
McCallum (left) and George Lucas to return 
for more Special Edition action. 





Although the dancer's death scene was 
toned down for being too revealing, her 
outfit was not. 

dungeon built for Oola's rendezvous with the 
Rancor — a savage, slobbering, oxer-sized 
carni\ore. "1 felt ver\ honored that ihey spent 
l\so days building ihai for me. to extend my 
scene." she says. 'Thai wasn't gonna happen 
originally. 1 was just hired to go back and do 
some blue-screen work, struggling on the 
leash with Jabba. After the third day. George 
and Rick said. 'Try this," and had me dance in 
front of three alien back-up singers added for 
the Special Edition. 

••Rick and George conversed and said. 
'Let's extend her scene.' They stoiyboarded. 
showed it to me and asked. 'Would you be 
willing to stay for a few extra days? We'll 
build you a new set and be at your beck and 
call' I said. 'That would be great. I think she 
should be in that scene.' They were gonna do 
that same scene back then, but ran out of time 
and money." 

In directing her for Jedi: Special Ediiion. 
"George told me. 'You get up to here in the 
pit and the Rancor is over there, when you 
suddenly turn and see...* and I just said, 
"George, am 1 supposed to be scared and 
looking over there?' And he said. 'Yeah!" " 

When she first won the role almost two 
decades ago. information about her character 
was elusive. "They didn't tell me anything 
about Oola." she reveals. "I got a few lines in 
the Twi'lek language and the choreographer 
just directed me. When I was shooting the 
scene right before 1 get up and entertain 
Jabba. Richard said. 'You're in a melancholy 
state of mind, a little sad.' " 

Despite the character's unusual appear- 
ance and indecipherable language. Taylor 
managed to make her sympathetic. "I must 
ha\e draw n on m> ow n experience from a 
past life when playing Oola." she says quiet- 
ly. "1 had been abused by my master and all \ 
wanted was to escape to freedom. 1 



w asn't gonna take it anymore. .Subconscious- 
1>. that was going through m\ mind. Many 
Star Wars actors will tell you they were never 
briefed on their characters and had to come 
up with something ihemseh es." 

Ironically, the original version of Oola's 
death was more unnerving than her Special 
Edition demise. When Jabba begins pulling 
her in by her chain, she begs and pleads to no 
avail. A shot of Jabba salaciously licking his 
hps left no doubt as to his intentions for her. 
Rumor has it that Lucasfilm wanted to play 
dow n this unsavor\' aspect. "I w ondered why 
the> toned that down." Taylor notes. "Person- 
ally. 1 wish they had kept that in and just 
added my death in the Rancor pit. Thc\' cut 
out much of what I did originally. They e\ en 
took out some of my dialogue.*' 

Life has been busy for Taylor since her 
days with Jabba. "I did Jesus Christ Super- 
star and ha\'e done Cats about three times — 
I'm even in the original London cast. I don't 
dance anymore, it's just not my bag. I've 
done it for so many years, you just have to 
move on. I sing and act more. I also got mar- 
ried to a sound designer. David Ogilvy. I 
would like to do more SF parts. I was going 
to do a science tiction/hoiTor film called The 
Heretic, as a Dana Scully-type character, but 
the moN'ie got cancelled." 

She feels her greatest role, though, has 
been playing Mother. "My son Zen is won- 
derful." she smiles. "David and I are delight- 
ed to have such a gorgeous little boy I" 

Star Wars has become a family tradition. 
"And I'm lucky to have been part of it." Femi 
Taylor announces. "Oola is a ver\ strong 
figure in my life. Star Wars has been 
good to my famil>' — my brother 
Benedict was a Naboo fight- 
er pilot in The Phantom 
Menacel"^ 



A 




Wars actors 
are not fully 
briefed on 
their 
characters, 
so Taylor 
had to 
come up 
with details 
for Oola 
herself. 



The life of an alien entertainer isn't all 
pleasure. Taylor's tedious days involved 
three hours of green paint application and 
lots of waiting around. 





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^ for All 
Seasons 



By PATJANKIEWICZ 

In an age 
where TV shows 
come and go and every- 
one seems to be famous for 15 minutes, Adam West and his Batman 
TV series have remained pop-culture icons. His pointy-eared, square- 
jawed hero could always be counted on to save the day. triumphing in 
a stylized universe teeming with killer clowns, dastardly deathtraps 
and even man-eating clams. 

When the series debuted in 1966, being Batman was the TV 
equivalent of a one-man Beatles. West appeared on everything from 
T-shirts, bubble-gum cards and Viewmasters to the cover of Life mag- 
azine and found himself mobbed wherever he went. 



Bom in Walla Walla. Washington, West now 
resides on an Idaho ranch and enjoys seeing his 
work referenced in contemporary pop culture. John 
Travolta does his Bat-dance in Pulp Fiction ("I was 
honored by that!"), and West has been profiled on 
Biography, guest-hosted Mystery Science Theater 
3000 and is a popular guest on Politically Incorrect and 
Howard Stern. The West Wing's Rob Lowe decided to 
become an actor after seeing him as Batman. 
In his years out of the cowl, West has written a bestselling 
autobiography {Back to the Batcare) and granted several frank 
and funny interviews to STARLOG about his career (#117, #210). 
Among many other projects, he appeared in the film Drop Dead Gor- 
geous as well as TV's Tales fivm the Ciypt ('As Ye Sow''), Space 
Ghost: Coast to Coast and Who Wafits to Be a Millionaire. His cult 
status was further confirmed by such animated antics as voicing the 
Gray Ghost (a poignantly heroic inspiration on Batman: The Animat- 
ed Series), playing himself on The Simpsons ("Mr. Plow") and serv- 
ing as the town's Mayor on Family Guy. 

Now, the comic book hero has again come charging back into 
West's life as Fox Home Video celebrates his Batman 35th anniver- 
sary by releasing the 1966 movie on DVD. A splashy comedic adven- 
ture, the TV series spin-off pits Batman against his four biggest 
foes — the Joker, the Penguin, the Riddler and Catwoman, naturally — 
as his alter-ego Bruce Wayne falls in 
love for the very first time. 




Cinematic Crusader 

"I thought making a Batman movie was a 
great idea" West notes. "When you've got 
the momentum, you hate to put on the brakes. 
We were able to go right from the first hit 
season straight into the movie! We made the 
movie in 30 days and just ran the whole time. 

"By then, I was pretty tired, but 1 still felt 
good about it because everyone was well- 
married and getting along with the right sen- 
sibilities of what the show and movie should 
be. More importantly. I was paid veiy well." 
West states. 'There was also something in the 
film that I insisted on: more Bruce Wayne. It 
gave me a chance to get out of the cowl and 
play the other character. I had a sense that I 
was being buried in that mask, and being 
Bruce Wayne in the movie gave me a chance 
to break out a bit." 

West's "take" on the character for the 
movie still seems startling. "Poor Batman- 
Bruce Wayne needed some kind of release 
from his emotional trauma. He's always out 
fighting crime and has no time for a personal 
life, and Bruce is thinking, ^Oh God, I live 
with this kid. Aunt Harriet and a butler — I 
have to get out there and lose my virginity!' 

"At last, he meets this giri. Miss Kitka 
[Lee Meriwether], who might want him for 
himself. He can recite poetry 
with her and take her 
home for cookies and 
warm milk, but 
unfortunately for. 
him. she is really 



is content with life 
In Idaho, where he 
^occasionally dines with 
the Green Hornet, 




Catwoman! I played Bruce as an adolescent, 
naive guy who's amazed by this beautiful 
woman. I love the romantic night out with 
Miss Kitka, where Bruce is about to lose his 
virginity, he's really ready — and then they 
get kidnapped!" 

The Wayne-Kitka love scenes have a sexy 
playfulness missing from the rest of the 
movie. 'Those scenes were kind 
of reminiscent of Cary 
Grant and Grace Kelly," 
West enthuses. "It gave 
me and Lee a chance 
to play dual roles, as 
well as flirt and 
be somewhat sub- 
tle. There's also 
the moment where 
Bruce takes Miss 
Kitka dancing and 
he has a brandy snifter full 
of milk. 

"Of the Batman 
scenes, I really like 
when I have to grab a 
bomb with a short 
fuse, run out of a bar 
to throw it |away so it 
won't hurt anyone], and 
everywhere I turn, there are 
nuns, kids, a Salvation 
Army band and baby duck 
ings. Batman says, 'Some 
days you just can't get rid of a 
bomb!' " 

Meriwether stepped into 
the sleek catsuit for the film 
because the original TV feline 
fatale was unavailable. "Julie 
Newmar was off doing anoth- 
er movie and they wanted to 
check out Lee anyway. I'm 
very lucky," West offers. "I 
had three Catwomen: Julie, 



Lee and Eartha Kitt; quite a 
wonderful challenge for an 
adolescent guy." Her fellow 
rogues were the TV show's best- 
loved baddies: the Joker (Cesar Romero. 
STARLOG#146), the Penguin (Burgess 
Meredith) and the Riddler (Frank Gorshin ). 

When the Batman movie was finished. 
"We had a wonderful premiere in Austin. 
Texas. I think the deal to go there for the 
opening and to meet the Governor was that 
our executive producer. Bill Dozier, a won- 
derful, talented man, got a free Batboat 
because they were manufactured in Austin," 
West reveals. "Incidentally, I loved driving 
the Batboat: it was a great machine." 

Playing the Gaped Crusader made West 
famous almost overnight. "It was exciting 
and rewarding in many ways. I sold an awful 
lot of laughs as Batman, but it's frightening 
because you totally lose your anonymity," he 
marvels. "Everyone knows who you are." 

The half-hour show filmed at a breakneck 
pace, since ABC aired Batman twice weekly 




in its heyday. "Sometimes I 
found myself so totally over- 
whelmed by work that it was very diffi- 
cult." West admits. "1 would be doing two 
or three episodes at the same time. They call 
it "bicycling.' I had an assistant and we 
worked it out. He walked behind me with two 
or three scripts open to the appropriate 
places. I would be talking with someone or 
working on a fight scene with the stunt coor- 
dinator, and I would snap my fingers once, 
twice or three times and he would know 
instantly where I wanted to go and quietly 
whisper the scene in my ear. so I could put up 
my head, memorize it and get ready to go. 
"Of course, by that point, I knew the 

www.starlog.com 



damn character so well, once I 
put on the cowl, I was there I 
Having grown up the way I did 
working in the field, it made [the 
acting] a little easier to handle. I 
mean, no more than five or six 
women a night, followed by therapy 
and the Betty Ford Clinic,** he jokes. 
West is prone to making outrageous 
statements with a straight face, just to 
see if you're paying attention. And 
were you? ''Seriously, it all was a 
challenge, exciting and just downright 
zany fun." 

He tried to act differently as Bat- 
man and Bruce Wayne, "but maybe 
others didn't think so." he chuckles. 
''With Batman, in the cowl, you were 
deadly serious no matter how it may 
seem to the viewer — you never, ever 
thought you were funny. Comedy has 
to come from the reality of serious 
business. You can think funny, but as 
Batman, you must never act funny! 
Never I" 

Jesting Leaguer 

Leslie H. Maninson, director of the Bat- 
man movie, had a reputation for being ner- 
vous. "I loved it when Leslie was chosen to 
direct, because I go back years with him to 
when he was a young director and I was just 
starting out. We got along great. What can I 
say, he's very high-strung," the actor notes 
fondly. "He's also quick, which is good in a 
way. but he gets quite emotional. 

'i did a pilot at Warner Bros, called Doc 
Holliclay that Leslie directed. I had played 
Doc three or four times on other [Western] 
TV shows and they said. 'Let's give Doc Hol- 
liday a pilot so Adam can have a series.' I 
played him as an alcoholic consumptive and 
at the lime. I don't think prime time was quite 
ready for that. Leslie and I wanted the pilot to 



Bruce Wayne gets 
up close but not 
personal enough with 

Miss Kitka (Lee 
Meriwether). It's West's ^ 
favorite movie 
sequence. 



ihat worked well for the show. Wag- 
gner wus a quiet man w ho knew what 
he was doing: he knew the essence 
and code of the show . 

"During a Mr. Freeze show. Otto 
Preminger came on [to play Freeze]. 
As an actor and a director. Preminger 
was notorious for intimidating people 
and giv ing them a hard time. On Bat- 
man, he went after Waggner. who told 
him. *Mr. Preminger. you are now in 
/77V employ. I am the director. Your 
nonsense stops here and now. If you 
continue, I will ask you to leave the 
stage and the sludiol' It was really 
funny. Preminger was a bit of a bully 
and nobody talked to him that way. I 
thought that was great." 

Like Preminger, some of the 
show's other guest stars were noted 
for being "difficult." "1 don't want to 
speak ill of these wonderful talents 
who passed on. but there were a cou- 
ple, yeah," West says sh\ly. (Irsl sin- 
slins out two stars who are still livins. 



I hfld fl sense \M I uias being buried in \M mash." 



be superb, but it ended up with us working till 
after midnight on December 24! I'll never 
forget. Leslie got on his knees and began 
praying. 'Dear God in Heaven, I will do any- 
thing, sacrifice anything if You will allow us 
to finish on this blessed Christmas Eve!' We 
didn't finish, but it was all the more amazing 
because Leslie is Jewish!" 

The Batman TV show employed many 
talented directors in its three-year run. like 
veteran filmmaker George Waggner, who 
made The Wolf Man (1941). "1 loved him." 
West declares. "There were some directors I 
really liked — Waggner, Oscar Rudolph. 
Les — because they had comic sensibilities 




*There were moments with Jeriy Lewis that 
weren't too comfortable. Shelley Winters 
was a pain in the ass from time to time [as 
crime boss Ma Parker]. 

''Preminger's Mr. Freeze had a scene 
where he collapses and Batman picks him up. 
I tried to lift him, but Otto practically dug 
into the floor with his fingernails and made it 
difficult to move him." West says in amaze- 
ment. "Finally, after three or four takes of 
him doing this. I quietly ran in and without 
the crew noticing, kicked him in the ribs! He 
got the point and let me pick him up! 

"I loved Tallulah Bankhead." West says. 
"She came on our show [as the bank-robbing 
Black Widow], and it was probably the last 
thing she ever did. To me. she was coura- 
geous. She sat alone in the shadows between 
set-ups and I thought. T want to 
talk to this woman.' So I went 
over and sal beside her. She 
snapped al me at first, but we 
started lo talk and she was 
She belied all that crap wriiien 
about her. Here's a woman who was remark- 
ably effective on stage, bigger than life and 
ver}' theatrical, but on film, she had a more 
difficult time. To be terminally ill. as she was. 
working as hard as she did on our little show ? 
I was touched by that and thought she was 
great." 

One of the most popular Batman two- 
partcrs guest-starred the heroes from another 
Dozier-produced .ABC TV series. The Green 
Hornet, Thus. West met Bruce Lee. who 
played the Hornet's sidekick Kato, before 



SJXY(JLOG!Septemher 2001 81 



Lee emerged as the movies' first 
martial arts legend. remember 
him well," West says. "We got 
along, but I never really talked to 
him much because he was ver>- intro- 
spective. Bmce always seemed deep in 
concentration. I suppose he had to be. 
to do martial arts as well as he did — it 
was amazing to watch him move. 

'That show was fun," West smiles. *'Van 
Williams [the Hornet, STARLOG #135] and 
I are still great friends. As a matter of fact, he 
and his wife were just here at my home for a 
little dinner party. Van only lives five miles 
from me, so if s funny when people see us 
together in the valley because we have a lot of 
tourists here in Idaho. They always go, 
'Look, it's Batman and the Green Hornet! 
They must be on a case!' " 



O inhumanity, 
thy names are 
Penguin (Burgess 
Meredith) and Joker 
(Cesar Romero)! They 
kidnap Bruce 
Wayne before he 
can score. 




■^1 .i>T^ 



"Isold an auifulloNf loughs as Batal' 



Darker Knight 

Lea\'ing Gotham City when the series was 
cancelled in 1968 gave West some dark times 
at first. 'After the show, I ran into all of these 
brick walls because of Bar- 
man. I got pretty despondent 
about the whole thing;' he 
confesses. 'T kicked back 
and didn't want to do any- 
thing for a while. 

'1 finally said to myself 
'Hey, you worked hard for a 
career. If you want your 
career to keep going, get off 
your ass and get to work!' I 
did theater, movies, any- 
thing just to keep working. 
Then, the Old Guard of Hol- 
lywood started to fade and 
the young guys came in. 
They realized what I and 
Batman were. As much 
work as it was andj 
as much as I suffered 



from typecasting, I'm very pleased that the 
TV show caught on and people appreciate 
what I did. It has allowed me to realize that 
my instincts were right on as Batman." 




A perfect example of such 
appreciation was LookwelL a 
hilarious 1 993 TV pilot created by 
Simpsons/Saturday Night Live 
writers Conan O'Brien and 
Robert Smigel (prior to their own 
greater fame on Late Night). West 
starred as Ty Lookwell, a narcis- 
sistic TV star who, when his 
detective show is cancelled, 
decides to become a real detective 
using his honorary badge. 'The 
best thing I ever did was the pilot 
for Loohvelir West states proud- 
ly. '"He was an American Inspec- 
tor Clouseau. There's a scene 
where I infiltrate a society bash 
disguised as a homeless man. I go 



he's better looking in 
person than his 
^Simpsons appearance 
indicates. 





through saying, 'Excuse me, home- 
less coming through, excuse me, the 
sidewalk is my pillow!' Everywhere I 
go, comedians rave up Lookw^ell, say- 
ing they watch it at parties.'' 

More recently. West traded in his 
heroic persona to portray a mad scien- 
tist on Black Scorpion. "It's a fun 
show done in the vein of Batman. I 
played one of Black Scorpion's ene- 
mies, this doctor called the Breathtak- 
er. I enjoy the people on that 
show — creator Craig Nevius and 
actresses Michelle Lintel [Black 
Scorpion] and Julie McCullough [his hench- 
woman Pollutia]. Frank Gorshin has also 
done Black Scorpion." 

West also got animated for The Simpsons. 
'That was nice of them to have me on," he 
says. In the episode. West drove his Batmo- 
bile and met Homer, Bart and Lisa at the 
Springfield Auto Show. "There's one line 
they gave me that became pretty well-known. 
Bart says to me, 'You're Batman?' and I say, 
'Just pure West!' Later, I ran into people who 
named their graphics company after that line. 
Just Pure West!" 

As for his caricature, done in the show's 
famous yellow-skinned, buck-toothed style, 
'T have to say it really wasn't the best draw- 
ing of me," Adam West laughs. "I'm acmally 
much better looking!" ^ 



82 STARLOG/Sepiemher 2001 



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By TOM WEAVER 








hdlf-century 
a ago, Susan 
Douglas 
survived to be 
the last 
woman on 
Earth. 



After the Bomb'' movies became a 
recurring SF siibgenre in the 1950s, 
iwith entries ranging in cosi and qiial- 
ity from mainstream dramas (The World, the 
Flesh and the Devil, On the Bcachj. to the 
more exploitative, drive-in-style likes of 
Panic in Year Zero I and Last Woman on 
Earth. The first of the '50s films to explore the 
theme still holds up as one of the most 
intriguing: Writer-producer-director Arch 
Oboler's low-budget indie Five, shot on 
Oboler's own Malibu ranch and starring 
William Phipps and Susan Douglas as nvo of 
the five fortunate (?) souls mysteriously left 
alive after a new type of bomb — one that kills 
without destroying — wipes out the rest of the 
people of Earth. 

Five V leading lady was born Zuzka Zenta 
Bursteinova in Vienna and studied dance as a 
child before the war in Europe sent refugees 
fleeing for safety throughout the rest of the 
world. Arriving in New York with her mother 
in 1940, teenage Zuzka learned English from 
going to the movies (three a day) and 
changed her name to Susan Douglas. (Zuzka 
is Czech for Susan. Douglas she picked out of 
a phone book. ) She acted on New York radio, 
the stage and in short subjects, then made her 
movie debut in 79475 The Private Affairs of 
Bel Ami. 

Other film roles, including Forbidden 
Journey (1950) with her future husband, 
opera singer-actor Jan (Witnessj Rubes, fol- 



84 STAKLOG/Septemher 2001 



lo\ved before the diminutive (five-foot) 
blonde landed the role of Roseanne — Earth 's 
entire female population — in Five. 

STARLOG: You and William Phipps were 
the stars of Five. How did you gel that part? 
SUSAN DOLGLAS: I just got a call from 
my agent, who said that he was sending the 
script of Five. I liked the script a lot, I really 
thought it was vcr}' imaginaii\e. I liked the 
whole idea of atomic dusl rather than an 
atomic bomb, and all living matter is 
destroyed and all man-made things stay. And 
I was anxious to meet Arch Oboler anyway. 
Have you ever heard any of his radio shows? 
He wrote wonderful stuff. He came to New 
York and we went out for dinner. He said, *i 
would love you to do the part,*' and I said, "I 
would love to do it." 

STARLOG: Oboler had the idea for Five 
years before he made the movie. The first 
time he did that stor>' was as a radio show 
with Bcttc Davis. 

DOUGLAS: I never heard that show. By the 
way, I think it was unfortunate for him that he 
didn't have a big name in the movie, and that 
it was made at least two. three years too early. 
When Five came out, people just pooh- 
poohed the idea. .And it was too bad. because 
later on... what was the movie with Ava 
Gardner? 

STARLOG: On the Beach [1959]. 
DOUGLAS: On the Beach, Which wasn't 
the same as Five, but it was very similar. It 
was a big hit. But in 1951, when Five came 
out, people jusi didn't think that this would 
be possible. So Oboler didn't really get the 
attention that I think, a few years later, he 
would have had. And if he thought up the 
story some years before [he made the movie], 
it shows you his mindset. He was a very 
intriguing personality^ ven»^ much ahead of 
his time. Even his radio shows were quite 
macabre and quite ahead of their time. 



Five's a crowd when 
arrogant German mountain 
climber James Anderson 
(left) intrudes on Douglas 
and the other survivors 




Czech-born Susan Douglas learned English 
by going to the movies. Thus, on some 
days, she sounded like Vivien Leigh; on 
others, John Wayne. 



a vocation she won't 
actively pursue. 



;5y to 
> out it's 



STARLOG: In preparing to shoot Five, 
Oboler was supposedly offered plenty of star 
names, but he chose to make the movie with 
unknowns. 

DOUGLAS: I can't believe that. 1 think if he 
had been offered an Ava Gardner, he would 
have gotten herl Perhaps he offered it to a lot 
of "name" people, people who felt. "Oh, 
that's so improbable," and didn't want to be 
associated with it. It just tickled my imagina- 
tion, and I thought it was a wonderful idea. 
STARLOG: You shot the movie on Oboler's 
ranch in Malibu. 

DOUGLAS: That's right. Up from Zuma 
Beach, in the mountains, was the house 
where he lived. And on the top of the hill he 
had a guest house designed by Frank Lloyd 
Wrisiht. It was a six- or eight-sided house. 




and all around were big windows, huge — I 
had never seen that many. That's where wc 
were shooting — that was supposed to be my 
house in the movie. Oboler's house down 
below was a normal-looking, average house. 
STARLOG: The cast and crew lived at Obol- 
er's house throughout the shoot. 
DOUGLAS: Thai's correct. I stayed up in 
the guest house [where the interiors were 
shot]. The other four actors stayed down 
below at Arch's house — it had some extra 
bedrooms. And the crew stayed in a tent! 
They didn't have enough room [in Oboler's 
house], so they lived in a tent, and the actors 
stayed in the house. There was veiy interest- 
ing, rugged terrain all around us. They 
wouldn't let me walk anywhere outside alone 
because there were rattlesnakes. If I wanted 
to go somewhere, one of the crew members 
would go with me, with a little pistol. Very 
strange... but good for the "feeling" of the 
movie [laughs]\ 

STARLOG: Five starts with you walking 
through the wilderness back to your house, 
with the wind blowing like crazy. Was that a 
wind machine? 

DOUGLAS: No, there was an actual storm! 
Oboler just shot me walking through the 
windstorm and it was great. The scene wasn't 
written specifically with wind, but it worked 
out ver>' well. He was lucky. But remember at 
the beginning when she looks into the car and 
sees a skeleton? I thought it was too early in 
the stor\^ for that. 

STARLOG: Presumably the atomic dust just 
killed everybody, and you're walking back to 
your house from the city. 
DOUGLAS: And the audience can't be 
expected to think that I've been walking 
home for so long a time that a body would 
have become a skeleton. That was unrealistic. 
STARLOG: Oboler's crew was made up of 
just a handful of students from USC. 
DOUGLAS: Yes. and they were a wonderful 
crew. Their way of photography and what 
they did with the mikes... they were really 



www.starlog.com 



^lARl.OG/September 2001 85 



ano . ipte- 



maA'elous. I think they all eventuallv went 
and worked on big movies — separately, not 
as a crew. There was a lot of friction between 
Oboler and the crew, because they had certain 
ways that ihey wanted to shoot things, and he 
wanted it a different way. There was a lot of 
compromising that had to be done. You can 
imagine five vital, young, exciting students 
vs. Oboler. Since they also were getting 
[paid] peanuts, or getting nothing, they at 
least wanted to establish their capabilities. 
But Oboler was very much a dictator. So it 
was very interesting. 

STARLOG: Was Oboler^s wife around? 
DOUGLAS: Yes. Oboler was married... and 
he had a girl friend. Alt living together! Arch 
is dead, isn't he? Because otherwise I would 
not tell ya \laughs]\ He had a wife, and he 
had a secretary who was more than a secre- 
tary. And the three of them lived in the house. 
STARLOG: One of the Five crew guys told 
me he once saw Oboler. the wife and the sec- 
retary, all three in one bed I 
DOUGLAS: I never saw the three in one 
bed, but I'm sure they must have been — it 




In her 
' breakthrough 
' stage role. 
Douglas played 
the ballerina 
in Broadway's 
He Who Gets 





Acting on prestigious radio series brought Douglas In contact with such 
legends as Charles Laughton. 



was definitely a menage d trois\ One of the 
crew guys told you that? Well, if anybody 
sees anything or knows anything on the set of 
a movie, it's always the crew [laughs]\ 
STARLOG: According to an old article 
about Five, it was made for about $75,000, 
and Oboler mortgaged his house to raise part 
of the money. 

DOUGLAS: I certainly can believe it was 
made for $75,000 because nobody made any- 
thing. He didn't get paid, he didn't have to 
pay locations, and the crew, I don't think they 
were getting more than a hundred bucks a 
w^eek. We shot it in four and a half weeks. / 
wasn't getting much either. I can'i remember 
for sure, but it seems to me that on the whole 
movie I made $2,000. 

STARLOG: According to Phipps [STAR- 
LOG #1721, Oboler wouldn't watch as a 
scene was being filmed, because of his radio 
drama background; he would just listen. 
DOUGLAS: 1 can't tell you that it was actu- 
ally so, because when 1 was in a scene, I was 
not watching Oboler, I was doing the scene! 
Maybe Phipps. when he wasn't in a scene, 
maybe that 's when he would observe Oboler. 
But it was close quarters when we shot inside 
the house, so it was hard for Oboler. The crew 
was on top of each other, there was hardly 
any room. So if he just listen, it's under- 
standable. 

STARLOG: As far as working with the 
actors, what kind of director was Oboler? 
DOUGLAS: He was very good. I think he 
liked the actors. And I think we all liked him. 
We all thought he was very good, and we 
were a little bit in awe of him, you know. 
STARLOG: Phipps told me that Oboler hit 
one of the crew members one day. 



DOUGLAS: He did. I was there. And after- 
ward, I went with the crew into LA. We left. 
The crew packed up, they were leaving, and 
they asked me if I would go with them. I said 
yes. But we went back to work the next day. 
STARLOG: So you all walked out on Obol- 
er for a day? 

DOUGLAS: We walked out. yeah. 1 don't 
really remember exactly what caused [the 
fight']. It was probably one of those "fric- 
tions." Anyway, before you know it. Arch hit 
one of the guys... and the guy hit him back. 
There were bloody noses and stuff, and the 
other guys had to pull them apart. It was 
awful. And it was scary, because we were in 
such a desolate place there. It happened out- 
side, on the balcony of the guest house. 
STARLOG: And everybody still got along 
after the fistfight? 

DOUGLAS: Oh, yeah. Right after the fighl, 
the other actors all stayed there at Oboler's — 
I was the only one who went with ihe crew. I 
stayed overnight at the house of one of the 
crew members. Art Swerdloff. He was mar- 
ried and he had two kids. And we all came 
back the next day and nobody said anything 
about anything. 

STARLOG: Swerdloff was the guy in the 
fight with Oboler. 
DOUGLAS: That's right. 
STARLOG: Even he cooled off? 
DOUGLAS: Oh, yeah. Those things happen. 
We all had a nice dinner at Art's house, a din- 
ner that his wife made, and we had quite a bit 
of wine. And the next morning we just all got 
together in the station wagon and went back 
[see sidebar]. You know, when you're tired, 
and there are artistic arguments, things can 
happen. There was more friction between 



w\vw.starlog.com 



Oboler and the crew than Oboler and the 
actors. We all had our parts, we knew what 
we wanted to do, it was what he wanted us to 
do and we agreed. So... it was different. 
STARLOG: How did they make you look 
pregnant in some of your scenes? 
DOUGLAS: We just put a pillow in... that's 
it! And, actually, I thought it looked quite all 
right. The only thing that really struck me as 
strange was, in some of the scenes near the 
end, I was supposed to run holding a baby. 
And when it came time to do those 
scenes... they gave me a baby! I asked Arch, 
"Why are we not using a doll? You can't even 
see it." He said. "No, no. I want you to 'feel' 
this baby." I said. "Could I meet the mother 
who's stupid enough to allow an actress to 
run with a month-and-a-half-old baby?" I 
mean. I was supposed to fall with the baby! I 
could never understand that! But Oboler was 
a stickler for things like that, and I suppose 
that, if the mother was willing... [Iaughs]\ I 
would never let an actress take my baby and 
run through the woods and stumble! 
STARLOG: Whose baby was it? 
DOUGLAS: 1 have no idea who the woman 
was. Oboler said to me, "I don't want you to 
talk to her. You'll talk her out of letting us use 




Douglas and future husband Jan 
( Witness) Rubes met on the Canadian-made 
Forbidden Journey. 



Douglas reprised her Guiding Light 
radio role on TV, making her one of 
that medium's first soap opera stars. 




the baby." [Laughs] I mean, use the real baby 
in a close-up. all right, that was bad enough, 
but we used that baby in all the scenes W'here 
you saw me running and stumbling. All that 
was this live baby. And in some of the later 
scenes, the baby was supposed to be 
decidl That was the part I couldn't 
understand. Arch kept saying, 
•■Just hold it tight. Don't let it 
move!" It was mad! 

The really fun part was when 
we went into Glendale to shoot 
the city scenes. Of course, we had 
to shoot it at about 5 a.m.. so 
there wasn't a living person 
around. And if there had been, 
Arch Oboler would have just 
asked them to move \laughs]\ 
STARLOG: Oboler had a hard 
time finding a company to dis- 
tribute Five. 

DOUGLAS: I know. Nobody 
^ thought that anybody would go 
and see it because they wouldn't 

\ believe it. It wasn't believable 
enough, in their opinion. 
STARLOG: You just saw Five 
again, for the first time in 50 
years. What was your reaction? 
DOUGLAS: My reaction was 
very much like when I saw it 
originally. I think if Oboler had 
had a couple of ''names," he 
would have done well with the 
movie. Watching it again also 
reminded me of the discussion I 
had with Oboler. after I read the 
script, about the character of my 
husband, Steven. [Douglas* char- 
acter wonders throughout the 
movie whether her husband 
Steven might still be alive, and in 
the final reel finds his skeleton in 

After making the end-of-the- 
worid epic, Douglas returned 
to New York in a big way. 
On oversized theater 
promo displays for Five. 



a waifing room of the hospital where she was 
being X-rayed when the atomic death struck.] 
I felt that Steven should not have been with 
her at the hospital. For sure, no matter how 
distraught she was. she would have looked 
for him and seen his body before she left 
there. 

STARLOG: He would have been ver>' easy 
for her to find, yes. But instead of looking for 
him in the wailing room where she knew^ he 
was W'-aiting, she walks home! 
DOUGLAS: That's right! Also. I asked 
Arch, "Is Roseanne ill? Why would Steven 
have gone to the hospital with her and waited 
while she went into the X-ray room?" Oboler 
said. **\Vell. because she thinks she's preg- 
nant." And I said. "Well, you don't go into an 
X-ray room to fmd out whether you're preg- 
nant!" [Laughs] The business with the hus- 
band — we discussed that several times, but 
Arch wouldn't give in. He said. "It's perfect- 
ly OK. It'll be accepted." Fine! 

But other than that, considering there 
were five crew men and no makeup person, 
no costume person, no nothing, I thought it 
came off quite well. 
STARLOG: And the peiformances? 
DOUGLAS: I thought they w^ere pretty 
good. It was an interesting group of actors. I 
always liked the old man [Earl Lee]. Well, I 
liked them all. At the beginning, James 
Anderson played Erik |an arrogant mountain 
climber) with maybe slightly more of an edge 
than I would have liked. I thought he tipped 
ofi' the audience very quickly that he was the 
bad guy. Is he not alive any more? 
STARLOG: No, they're all dead except you 
and Phipps. Just hke at the end of the movie! 
DOUGLAS: How funny. By the way, my 
husband Jan watched it with me the other 
day, and he thought it was pretty good. He 
said, "Oh, you were so pretty!" [Untghs] Oh. 
God. . .50 years. That's a long time. 
STARLOG: Did starring in a movie help 
your career at all? 

DOUGLAS: Not really. I came back to New 
York and went back to the radio shows — the 
soaps. Jan was an opera and concert singer 

STARLOG/September 2001 87 




The screen's number one cad, George 

Sanders, broke Douglas' heart 
(and others) in her feature debut, The 
Private Affairs of Bel Ami. 

aiid traveled all o\ er. but we wanted to have 
children. Well Proctor & Gamble decided 
that they would let Tlie Guiding Ligiit be 
the first TV soap, to tr>' it out and see how 
it would do. It was a 15-minute radio show 
and it became a 15-minute TV show. live. 
And they asked all of us who played the 
leads on radio [lo work on the TV version] 
and we all said yes. Ever}' day was like per- 
forming one act on stage, because it was 
live. .And for Jan and me. it was lovely 
because, if we wcvc going to have a baby, 
then 1 would only be w orking from 8 a.m. 
to noon. 

And indeed. I had two of my babies 
while on the show . The people on the show- 
were reallv \en good to me: I wasn't mar- 
ried on the show, so for me to have a baby 
in real life [but not on the TV show], they 
had to do some rewriting. The first baby I 
had while on Tlie Guiding Liglit. my char- 
acter was sick and in an oxygen tent for 
about five months. The second baby, the 
character had an accident and so I was in a 
wheelchair on the show for five months, 
covered with a blanket. The) had to write 
something that was nor having a baby! 
When I had the third baby. Ima Phillips, the 
wonderful writer, said. "Listen, wSusan. I 
can't cope with this any more. I'm gonna 
kill the character." So they did. But I was on 
for seven > ears. 

STARLOG: After Tiie Guiding Li gin. you 
and your family moved to Toronto. And 
you kept busy up there, too? 
DOUGLAS: I spent a lot of time, the first 
few- years, at home, but I built and ran the 
Young People's Theatre in Toronto. We 
were one of the very first, in 1963. thai look 
plays to schools. And I've worked on TV 
and in a few movies since. 
STARLOG: WOiat does the fuiure hold*:* 
DOUGL.AS: Well, now I'm enjoying play- 
ing golf and tennis and tooting around 
when Jan does a movie [lauglis]. And I play 
with my grandchildren. I did a small part a 
few years ago in Black and Blue [1999], a 
TV movie, but it was because the director 
called and asked me if I w ould play a 70- 
yeai*-old lady for him. and 1 said sure. I did 
a pari in Due South, a Russian spy. It was 
fun. But I don't actively look for anything. 
If a director calls and says. "Wbuld you like 
to do something?". Fm delighted. But I 
don't actively pursue it. 




There were, of course. fi\ e people 
ii 



in the movie Five, and five people 
made it. I'm Arthur L. Swerdloff and I 
directed the camera. Arch Oboler 
directed the actors. Sid Lubow operated 
the camera. Ed Spiegel edited the pic- 
ture. And I think one of the most signifi- 
cant contributions was made by Louis 
Clyde Sioumen. Lou was the director of 
photography, and he ga\ e ihe picture a 
quality that I thought w as just unique. I 
thought it was brilliant ai the time, and I 
still do. He used a hea\ y red filter so the 
world all looked grey, like it had been 
radiated. And indoors. ever>'thing was shot 
with reflected sunlight, since there was no 
" electric light. These were all Lou's con- 
cepts. After making Five. Lou won Academy Awards for 
TWO documentaries iTIie True Stoty of the Civil War. 1 956, 
and Black Fox: Tlie True Story of Adolf Hitler. 1962). 
In order to circumvent the unions. Arch made us (the four USC 
filmmaking suidents known as Montage Films) all producers, and pro- 
ducers can do anything on a movie. The LATSE (the motion picture union) 
came up with a truck one time, and Arch told 'em that these were all producers and we were 
all making this movie, five of us. And to go home! 

There was a very unusual incident lhai involved me. which I don't know whether 1 really 
should mention but I w ill, because it w as part of the histoiy of the making of that movie. I 
was taking care of the camera, picking the angles and all that, and Arch was directing the 
actors. We were on the balcony of ihe guest house and w^e shot a scene. We were in a burr}', 
and, in the confusion. Sid hadn't loaded any film in the camera. Arch said to Sid. **Since 
when. Mr. Lubow. do w e make moiion pictures without film in the camera?" And Sid. who 
was very thick-skinned and doesn't accept any responsibility for anything, came right back, 
without batiin' an e\ e. ■'Well, since when does Arch Oboler never make a mistake?" 

I should add that, earlier on. w hile we were rehearsing that scene. Sid made another 
remark that upset Arch: 'Tou know. Arch, this picture's gonna w in the Peabody Aw ard for 
radio!" Then. Sid shot without film in the camera! Well, when Sid came back at him with 
"Since when does Arch Oboler never make a mistake?" Arch got reeeallv pissed. There were 
about steps dow n off the balcony, and Arch said, 'i'm goin" off the set. And if I hear 
another w ord from anybody, I'm gonna punch him in the nose!" So he went down the steps 
and got himself together, but he was only down there for 10 seconds! 

He came back up and I said, "Look. Arch, nobody's gonna hit anybody. Let's get the next 
shot..." And. boom, he popped me\ Right in the eye. My glasses 
were on. and the\' broke. 

I was an all-American athlete, a lacrosse player, and I 
didn't want to hit him. 1 knew he had been a boxer. I did 
hit him back, but 1 didn't want to hurt him. But he want- 
ed to hurt me\ 1 kept saying. "Look. I don't want to 
fight. Arch!" And. yeah. 1 hit him back... but just once, 
think. He w^as screaming, and Susan Douglas was goin' 
wild because of w hat w as going on. Finally. Mel Shapiro, 
• boom man, came up with a Jeep and he took me aw ay. 
id Arch kept runnin' after the Jeep, he wanted to fight some 
more! He was realN mad! 

There w as a law suit, but the day before it went to 
court, I said, 'All I want is an apology. Arch. . ." 
And when I got one. I dropped the suit. 

Even though this happened. 1 want 
you to know. I lo\ ed Arch Oboler. I 
had listened to his radio show 
Lights Out since I was a kid, 
and the thought of working 
with him w as just so great. I 
really lo\ ed the concept of Five 
and I loved him. I thought he 
was reaJly a terrific guy. He 
thought I was talented, and he 
respected me, and he knew I loved 
him, really. 

— Aithur L Swerdloff as told 
to Tom Weaver 




88 STARLOG/Septeniber 2001 



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Serendipity and extensive planning — 
that's what magazine editing is all 
about. You plan and you plan till 
your planner is blue. You commission this 
story, arrange that interview, buy some 
other article that showed up unrequested. 
begin the eternal quest for just the right 
photos. Then, things happen. And every- 
thing changes three, four, nine. 36 times. 

At least, that has been my experience. 
Take this issue, for instance. Originally, 
the cover was going to be something else. 
The cover story had been planned for 
almost six months, but then that project 
got delayed. Another movie seemed like a 
contender, but the studio concerned is just 
horrendous to deal with — so "anyone but 
them" (if humanly possible) became the 
easiest of decisions to make. Life's too 
short, you know, and eventually those pre- 
sent publicists w ill move on to meaner 
pastures and, presumably, their replace- 
ments will be professionals and human. 
Or so I can hope. 

Two other cover prospects, well, just 
weren't ''commerciar' enough. Let's be 
realistic. I always have to consider 
whether what's on the cover will sell mag- 
azines or not. And putting things there that 
simply M'on 't is a nobly quixotic, yet 
ultimately suicidal effort. Something 
has to be on the cover, of course. I 
can't ju.st run white space — much as I 
would sometimes like to do so. 

What's "commercial?" Well, it 
has to be a movie or a TV show that 
will sufficiently intrigue impulse buy- 
ers — casual readers (who ofily pur- 
chase STARLOG when they see 
something on the cover they like) and 
newcomers (suddenly just discover- 
ing the magazine; after 25 years, 
where have you been all my life, 
kiddo? Welcome aboard!) — to moti- 
vate them to plunk down the pur- 
chase price. What's on the cover, 
thankfully, doesn't matter so much to 
the most faithful of you — subscribers 
(who get issues monthly, regardless 
of what's cover-featured) and regular 
readers (who buy STARLOG every 
month, long ago realizing you absolutely 
can not judge this book by its cover). 
Thanks to all of you in the latter two 
groups for your unending support. You 
pay my rent — which just went up. 

Ideally, in my view, a cover should be 
"commercial"... showcase attractive, well- 
designed graphics (so it says, "Hey. good 
looking !")... support interesting article(s) 
inside with folks CRicial to the 
project... and deserve to be a cover story 
(i.e. we think the movie or new TV show\ 
which we rarely get to see in advance of 
putting it on the cover, might be good). 



Not surprisingly, this doesn't always 
work out. I'm pleased with the #285 cover 
of Far scape — it's commercial, looks ter- 
rific, supports a fascinating interview by 
Joe Nazzaro and highlights a good show 
(but we already knew^ that from watching 
it). Then, there's #287, Angelina Jolie in 
Tomb Raider. Coming out five weeks 
before the movie, it sure was commercial, 
good-looking and another great Nazzaro 
story. Thanks to the advance preview 
aspect, that issue also sold real, real well. 
And then I saw the movie. Oh my. 

Yep. I sorta regret that one. Like I 
regret The Last Action Hero. Wing Com- 
mander and Battlefield Earth — none of 
which I've seen, life still being too short, 
though I did read all three scripts. They all 
seemed like adequate ideas for covers at 
the time. More attractive than white space. 
Something instead of absolutely nothing. 
Better than a sharp poke in the eye with a 
really pointy stick — although not by 
much. 

Far more sad than the bad movies that 
got covers are the good ones that didn 7. 
The publishers vet editorial cover choices 
and alas, weren't convinced by the argu- 
ments for The Princess Bride and Beetle- 
juice — both of which, amazingly, the 
editors had seen in advance of those cover 
decisions, had loved and nonetheless still 
weren 7 able to put on the cover. Great 




There's been a sTght reconte, Harnson.lt now appears that 
ipcr character f5A)T kifled off in the film's firs^: ten minates.' 

were our frustrations, loud were our 
lamentations! 

More often, it's a lack of proper graph- 
ics that torpedoes a cover possibility — as 
it did for Cocoon, The Abyss and Edward 
Scissorhajids. Or the timing is off. Sorr>'. 
Charlie, we've booked another tuna, a 
cover candidate perceived to be stronger, 
so it's a no-go for the likes of Hollow 
Man, Small Soldiers and Deep Impact. 

That about covers it. And you know 
my blood pressure is just shooting up 
merely thinking about this subject. So. I'm 
off to recover. 

—David McDonnell/Editor (Jidx 2001 ) 



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